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John Houseman (born Jacques Haussmann; September 22, 1902 – October 31, 1988) was a British-American-Romanian actor and producer who became known for his highly publicized collaboration with director Orson Welles from their days in the Federal Theatre Project through to the production of Citizen Kane and his collaboration, as producer of The Blue Dahlia, with writer Raymond Chandler on the screenplay. He is perhaps best known for his role as Professor Charles W. Kingsfield in the film The Paper Chase (1973), for which he won the Academy Award for Best Supporting Actor. He reprised his role as Kingsfield in the 1978 television series adaptation.
Houseman was also known for his commercials for the brokerage firm Smith Barney. He had a distinctive English accent, a product of his schooling.
In the aftermath of the attack on Pearl Harbor, Houseman quit his job and became the head of the overseas radio division of the Office of War Information (OWI), working for the Voice of America whilst also managing its operations in New York City.[16]
Houseman was also known for his commercials for the brokerage firm Smith Barney. He had a distinctive English accent, a product of his schooling.
In the aftermath of the attack on Pearl Harbor, Houseman quit his job and became the head of the overseas radio division of the Office of War Information (OWI), working for the Voice of America whilst also managing its operations in New York City.[16]
John Houseman - Wikipedia
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Late Night with David Letterman - February 9, 1982
John Houseman "Paper Chase" opening; "New Food That Never Caught On"; John Houseman plugs his new TV show; "Celebrities and Business Machines"; an audience p...
Thank you, my friend Maj Marty Hogan for making us aware that September 22 is the anniversary of the birth of British-American-Romanian actor and producer John Houseman (born Jacques Haussmann) who became known as producer of Citizen Kane and The Blue Dahlia.
Rest in peace John Houseman.
Late Night with David Letterman - February 9, 1982
"John Houseman "Paper Chase" opening; "New Food That Never Caught On"; John Houseman plugs his new TV show; "Celebrities and Business Machines"; an audience participation game."
https://www.youtube.com/watch?v=zryimNbqLYc
Images
1. John Houseman 1974 best supporting actor for The Paper Chase
2. John Houseman towards his end
3. John Houseman, Voice of America's first Director - 1942-1944.
1. Background from surprising-romania.blogspot.com/
"John Houseman
John Houseman (born Jacques Haussmann, September 22, 1902 – October 31, 1988) was a Romanian-born British-American actor and film producer. Academy Award-winning actor John Houseman's main contribution to American culture was not his own performances on film but rather, his role as a midwife to one of the greatest actor-directors-cinematic geniuses his adopted country ever produced (Orson Welles) and as a midwife to a whole generation of actors as head of the Julliard School.
Houseman was born in Bucharest, Romania in 1902, the son of a British mother of Welsh and Irish descent and a Jewish father of Romanian ancestry who ran a grain business. He was educated in England at Clifton College, became a British citizen and worked in the grain trade in London before emigrating to the United States in 1925, where he took the stage name of John Houseman. He became an American citizen in 1943.
He directed "Four Saints in Three Acts" for the theater in 1934. Houseman joined with Orson Welles (whom he affectionately called "The Dog-Faced Boy") in 1937 to mount startling productions of the classics in their avant-garde Mercury Theater. Their most important success was a modern-dress version of Shakespeare's "Julius Caesar," in which the spectre of Hitler and Mussolini's Fascist states were evoked. The Mercury Theatre on the Air subsequently became famous for its notorious 1938 radio adaptation of H. G. Wells' The War of the Worlds, which had put much of the country in a panic.
As a producer assigned to Unit 891 of the Federal Theater Project funded by the government's Works Progress Administration, he produced the legendary production "Cradle Will Rock," a musical about the tyranny of capitalism. On Broadway, apart from the Mercury Theatre and the WPA, Houseman directed "The Devil and Daniel Webster" (1939) and "Liberty Jones" and produced "Native Son" (1941). During World War Two, Houseman went to work for the Office of War Information and was involved in broadcasting radio propaganda for the Voice of America. After the war, Houseman returned to directing and produced Metro-Goldwyn-Mayer's 1953 version of Julius Caesar (1953).
Toward what looked like the end of a long career, when he was 66 years old, Mr. Houseman helped establish the school of drama at the Juilliard School and also became the co-founder and longtime artistic director of the Acting Company, the touring repertory group whose alumni include Kevin Kline and Patti LuPone. He resigned as artistic director last summer.
He helped establish the acting program at New York's famous Julliard School for the Arts, where he influenced a new generation of actors. Ironically, he had appeared in only one major movie, in a supporting role, before being tapped to replace James Mason in The Paper Chase (1973). He won an Oscar for the role and began a 15-year career as a highly sought after supporting player (Three Days of the Condor, Rollerball, The Cheap Detective, Ghost Story, My Bodyguard, Naked Gun, Winds of War, Noble House, and many others). Houseman, who wrote three volumes of memoirs, Run-Through (1972), Front and Center (1979) and Final Dress (1983), died in 1988 after making major contributions to the theater and film."
2. Background from .imdb.com/name/nm0002144/bio
"Born September 22, 1902 in Bucharest, Romania
Died October 31, 1988 in Malibu, California, USA (spine cancer)
Birth Name Jacques Haussmann
Nickname Jack
Height 5' 10" (1.78 m)
Bio
Academy Award-winning actor John Houseman's main contribution to American culture was not his own performances on film but rather, his role as a midwife to one of the greatest actor-directors-cinematic geniuses his adopted country ever produced (Orson Welles) and as a midwife to a whole generation of actors as head of the drama division of the Juilliard School.
Houseman was born Jacques Haussmann on September 22, 1902 in Bucharest, Romania, to May (Davies) and Georges Haussmann, who ran a grain business. His father was from an Alsatian Jewish family, and his mother, who was British, was of Welsh and Irish descent. John was raised in England, where he was educated. He emigrated to America in 1925, establishing himself in New York City, where he directed "Four Saints in Three Acts" for the theater in 1934. He founded the Mercury Theatre along with Orson Welles (whom he affectionately called "The Dog-Faced Boy"). Their most important success was a modern-dress version of Shakespeare's "Julius Caesar", in which the spectre of Hitler and Mussolini's Fascist states were evoked.
As a producer assigned to Unit 891 of the Federal Theater Project funded by the government's Works Progress Administration, he produced the legendary production "Cradle Will Rock", a musical about the tyranny of capitalism, with music by Marc Blitzstein, creative input from Welles, and starring leftists Howard Da Silva and Will Geer. The production was so controversial, it was banned before its debut, although the did manage to stage one performance. On Broadway, apart from the Mercury Theatre and the WPA, Houseman directed "The Devil and Daniel Webster" (1939) and "Liberty Jones" and produced "Native Son" (1941). During World War II, Houseman went to work for the Office of War Information and was involved in broadcasting radio propaganda for the Voice of America. After the war, Houseman returned to directing and produced Metro-Goldwyn-Mayer's version of Julius Caesar (1953).
He had produced his first film, Orson Welles' Too Much Johnson (1938), while with the Mercury Theatre. He was involved with the pre-production of Citizen Kane (1941) but fell out with Welles due to Welles' already legendary ego. He produced a score of major films and was involved in three television series before devoting his life to teaching. He helped establish the acting program at New York's famous Julliard School for the Arts, where he influenced a new generation of actors. Ironically, he had appeared in only one major movie, in a supporting role, before being tapped to replace James Mason in The Paper Chase (1973). He won an Academy Award for the role and began a 15-year career as a highly sought after supporting player.
John Houseman, who wrote three volumes of memoirs, "Run-Through" (1972), "Front and Center" (1979) and "Final Dress" (1983), died at age 86 on October 31, 1988 after making major contributions to the theater and film.
- IMDb Mini Biography By: Jon C. Hopwood
Spouse (2)
Joan Houseman (11 November 1952 - 31 October 1988) ( his death) ( 2 children)
Zita Johann (5 October 1929 - 13 September 1933) ( divorced)
Trivia (17)
1. Houseman was a producer of unit 891, the government theatre project funded by the WPA. He was producer of the legendary "Cradle Will Rock" which sent shock waves of paranoia from New York to Washington, D.C.
2. He and Orson Welles were the founders of the famous Mercury Theatre Players.
3. Taught acting at Julliard School of Fine Arts for awhile.
4. Had two sons with his second wife, Joan Houseman.
5. Attended and graduated from Clifton College in Bristol, England.
6. During his teaching days at Julliard School of Fine Arts, one of his students was Robin Williams, whom Houseman admired. The actor later advised the future comedian that he should quit Julliard since he was wasting his talent, and strike out on his own as a comedian which Williams soon did.
7. He passed away soon after filming The Naked Gun: From the Files of Police Squad! (1988) but before its theatrical release. Coincidentally, Ethel Merman's final film role was in another Zucker film, Airplane! (1980).
8. Co-founded the Theatre Group at the University of California at Los Angeles, with Robert Ryan and Sidney Harmon (1959).
9. Member of the jury at the Venice Film Festival in 1962.
10. Biography in: "The Scribner Encyclopedia of American Lives". Volume Two, 1986-1990, pages 435-437. New York: Charles Scribner's Sons (1999).
11. Former acting teacher of Robin Williams and Christopher Reeve.
12. Formerly a close friend and collaborator of Orson Welles during their theater days, they had two blow-ups as Welles began his screen career. Welles originally planned to make his screen debut with an adaptation of Joseph Conrad's novel "Heart of Darkness", starring himself as Kurtz. It was to have been made by RKO Pictures, but a host of production problems caused the studio to tell Welles that if no progress had been made by December 31, 1941, none of the cast would be paid. Welles offered to pay the cast himself if that happened. Houseman told him during a studio dinner that their production company did not have enough money to pay them all. Welles called him a bloodsucker and crook. Houseman began to leave, and Welles started throwing dinnerware at him. The two later reconciled during the writing of Citizen Kane (1941), when Welles asked Houseman to "babysit" Herman J. Mankiewicz, meaning to keep him from drinking too much. After Mankeweicz delivered his script, Welles made a few changes before going into production. Welles later publicly claimed to have substantially re-written the script. Houseman, based on having been with Mankeweicz during the writing, publicly disagreed, saying that most of the credit belonged to Mankeweicz, with a little guidance from himself. This led Welles to permanently end their friendship.
13. His hatred for former partner Orson Welles was notorious, and Houseman never passed up an opportunity to attack him, often on very personal grounds. He is known to have given a great deal of information, most of it false or misleading, to Pauline Kael for her much-criticized essay, "Raising Kane". However, he could never escape from Welles' shadow, and even managed to die on the 50th anniversary of the famous "War of the Worlds" radio broadcast. On his deathbed, he admitted to Welles' biographer, Simon Callow, that "meeting Welles was the most important event of my life".
14. One of his films as a producer was Julius Caesar (1953), which was the first American film for John Gielgud. Gielgud would later turn down the role for which Houseman received an Academy Award, The Paper Chase (1973). However, Gielgud did succeed Houseman in The Winds of War (1983) sequel, War and Remembrance (1988).
15. He worked for only one day on John Carpenter's horror classic The Fog (1980) and was given a "special appearance" credit. His character, Mr. Machen, could be a reference to Arthur Machen, Welsh author and mystic of the 1890s and early 20th century. He is best known for his influential supernatural, fantasy, and horror fiction.
16. Has never appeared in a film nominated for the Best Picture Oscar.
17. Before getting into the theater business, Houseman worked in the grain industry, living in Galveston, Texas.
Personal Quotes
[on Robert Ryan] A disturbing mixture of anger and tenderness who had reached stardom by playing mostly brutal, neurotic roles that were at complete variance with his true"
FYI LTC (Join to see)Sgt John H.PVT Mark Zehner1sg-dan-capriSGT Robert R.CPT Tommy CurtisSGT (Join to see) SGT Steve McFarlandCol Carl WhickerSFC Jack ChampionCpl James R. " Jim" Gossett Jr SPC Jon O.SP5 Jeannie CarleSPC Chris Bayner-CwikPO1 Jerome NewlandTSgt David L.PO1 Robert GeorgeSGT John MelvinISG John Faircloth
Rest in peace John Houseman.
Late Night with David Letterman - February 9, 1982
"John Houseman "Paper Chase" opening; "New Food That Never Caught On"; John Houseman plugs his new TV show; "Celebrities and Business Machines"; an audience participation game."
https://www.youtube.com/watch?v=zryimNbqLYc
Images
1. John Houseman 1974 best supporting actor for The Paper Chase
2. John Houseman towards his end
3. John Houseman, Voice of America's first Director - 1942-1944.
1. Background from surprising-romania.blogspot.com/
"John Houseman
John Houseman (born Jacques Haussmann, September 22, 1902 – October 31, 1988) was a Romanian-born British-American actor and film producer. Academy Award-winning actor John Houseman's main contribution to American culture was not his own performances on film but rather, his role as a midwife to one of the greatest actor-directors-cinematic geniuses his adopted country ever produced (Orson Welles) and as a midwife to a whole generation of actors as head of the Julliard School.
Houseman was born in Bucharest, Romania in 1902, the son of a British mother of Welsh and Irish descent and a Jewish father of Romanian ancestry who ran a grain business. He was educated in England at Clifton College, became a British citizen and worked in the grain trade in London before emigrating to the United States in 1925, where he took the stage name of John Houseman. He became an American citizen in 1943.
He directed "Four Saints in Three Acts" for the theater in 1934. Houseman joined with Orson Welles (whom he affectionately called "The Dog-Faced Boy") in 1937 to mount startling productions of the classics in their avant-garde Mercury Theater. Their most important success was a modern-dress version of Shakespeare's "Julius Caesar," in which the spectre of Hitler and Mussolini's Fascist states were evoked. The Mercury Theatre on the Air subsequently became famous for its notorious 1938 radio adaptation of H. G. Wells' The War of the Worlds, which had put much of the country in a panic.
As a producer assigned to Unit 891 of the Federal Theater Project funded by the government's Works Progress Administration, he produced the legendary production "Cradle Will Rock," a musical about the tyranny of capitalism. On Broadway, apart from the Mercury Theatre and the WPA, Houseman directed "The Devil and Daniel Webster" (1939) and "Liberty Jones" and produced "Native Son" (1941). During World War Two, Houseman went to work for the Office of War Information and was involved in broadcasting radio propaganda for the Voice of America. After the war, Houseman returned to directing and produced Metro-Goldwyn-Mayer's 1953 version of Julius Caesar (1953).
Toward what looked like the end of a long career, when he was 66 years old, Mr. Houseman helped establish the school of drama at the Juilliard School and also became the co-founder and longtime artistic director of the Acting Company, the touring repertory group whose alumni include Kevin Kline and Patti LuPone. He resigned as artistic director last summer.
He helped establish the acting program at New York's famous Julliard School for the Arts, where he influenced a new generation of actors. Ironically, he had appeared in only one major movie, in a supporting role, before being tapped to replace James Mason in The Paper Chase (1973). He won an Oscar for the role and began a 15-year career as a highly sought after supporting player (Three Days of the Condor, Rollerball, The Cheap Detective, Ghost Story, My Bodyguard, Naked Gun, Winds of War, Noble House, and many others). Houseman, who wrote three volumes of memoirs, Run-Through (1972), Front and Center (1979) and Final Dress (1983), died in 1988 after making major contributions to the theater and film."
2. Background from .imdb.com/name/nm0002144/bio
"Born September 22, 1902 in Bucharest, Romania
Died October 31, 1988 in Malibu, California, USA (spine cancer)
Birth Name Jacques Haussmann
Nickname Jack
Height 5' 10" (1.78 m)
Bio
Academy Award-winning actor John Houseman's main contribution to American culture was not his own performances on film but rather, his role as a midwife to one of the greatest actor-directors-cinematic geniuses his adopted country ever produced (Orson Welles) and as a midwife to a whole generation of actors as head of the drama division of the Juilliard School.
Houseman was born Jacques Haussmann on September 22, 1902 in Bucharest, Romania, to May (Davies) and Georges Haussmann, who ran a grain business. His father was from an Alsatian Jewish family, and his mother, who was British, was of Welsh and Irish descent. John was raised in England, where he was educated. He emigrated to America in 1925, establishing himself in New York City, where he directed "Four Saints in Three Acts" for the theater in 1934. He founded the Mercury Theatre along with Orson Welles (whom he affectionately called "The Dog-Faced Boy"). Their most important success was a modern-dress version of Shakespeare's "Julius Caesar", in which the spectre of Hitler and Mussolini's Fascist states were evoked.
As a producer assigned to Unit 891 of the Federal Theater Project funded by the government's Works Progress Administration, he produced the legendary production "Cradle Will Rock", a musical about the tyranny of capitalism, with music by Marc Blitzstein, creative input from Welles, and starring leftists Howard Da Silva and Will Geer. The production was so controversial, it was banned before its debut, although the did manage to stage one performance. On Broadway, apart from the Mercury Theatre and the WPA, Houseman directed "The Devil and Daniel Webster" (1939) and "Liberty Jones" and produced "Native Son" (1941). During World War II, Houseman went to work for the Office of War Information and was involved in broadcasting radio propaganda for the Voice of America. After the war, Houseman returned to directing and produced Metro-Goldwyn-Mayer's version of Julius Caesar (1953).
He had produced his first film, Orson Welles' Too Much Johnson (1938), while with the Mercury Theatre. He was involved with the pre-production of Citizen Kane (1941) but fell out with Welles due to Welles' already legendary ego. He produced a score of major films and was involved in three television series before devoting his life to teaching. He helped establish the acting program at New York's famous Julliard School for the Arts, where he influenced a new generation of actors. Ironically, he had appeared in only one major movie, in a supporting role, before being tapped to replace James Mason in The Paper Chase (1973). He won an Academy Award for the role and began a 15-year career as a highly sought after supporting player.
John Houseman, who wrote three volumes of memoirs, "Run-Through" (1972), "Front and Center" (1979) and "Final Dress" (1983), died at age 86 on October 31, 1988 after making major contributions to the theater and film.
- IMDb Mini Biography By: Jon C. Hopwood
Spouse (2)
Joan Houseman (11 November 1952 - 31 October 1988) ( his death) ( 2 children)
Zita Johann (5 October 1929 - 13 September 1933) ( divorced)
Trivia (17)
1. Houseman was a producer of unit 891, the government theatre project funded by the WPA. He was producer of the legendary "Cradle Will Rock" which sent shock waves of paranoia from New York to Washington, D.C.
2. He and Orson Welles were the founders of the famous Mercury Theatre Players.
3. Taught acting at Julliard School of Fine Arts for awhile.
4. Had two sons with his second wife, Joan Houseman.
5. Attended and graduated from Clifton College in Bristol, England.
6. During his teaching days at Julliard School of Fine Arts, one of his students was Robin Williams, whom Houseman admired. The actor later advised the future comedian that he should quit Julliard since he was wasting his talent, and strike out on his own as a comedian which Williams soon did.
7. He passed away soon after filming The Naked Gun: From the Files of Police Squad! (1988) but before its theatrical release. Coincidentally, Ethel Merman's final film role was in another Zucker film, Airplane! (1980).
8. Co-founded the Theatre Group at the University of California at Los Angeles, with Robert Ryan and Sidney Harmon (1959).
9. Member of the jury at the Venice Film Festival in 1962.
10. Biography in: "The Scribner Encyclopedia of American Lives". Volume Two, 1986-1990, pages 435-437. New York: Charles Scribner's Sons (1999).
11. Former acting teacher of Robin Williams and Christopher Reeve.
12. Formerly a close friend and collaborator of Orson Welles during their theater days, they had two blow-ups as Welles began his screen career. Welles originally planned to make his screen debut with an adaptation of Joseph Conrad's novel "Heart of Darkness", starring himself as Kurtz. It was to have been made by RKO Pictures, but a host of production problems caused the studio to tell Welles that if no progress had been made by December 31, 1941, none of the cast would be paid. Welles offered to pay the cast himself if that happened. Houseman told him during a studio dinner that their production company did not have enough money to pay them all. Welles called him a bloodsucker and crook. Houseman began to leave, and Welles started throwing dinnerware at him. The two later reconciled during the writing of Citizen Kane (1941), when Welles asked Houseman to "babysit" Herman J. Mankiewicz, meaning to keep him from drinking too much. After Mankeweicz delivered his script, Welles made a few changes before going into production. Welles later publicly claimed to have substantially re-written the script. Houseman, based on having been with Mankeweicz during the writing, publicly disagreed, saying that most of the credit belonged to Mankeweicz, with a little guidance from himself. This led Welles to permanently end their friendship.
13. His hatred for former partner Orson Welles was notorious, and Houseman never passed up an opportunity to attack him, often on very personal grounds. He is known to have given a great deal of information, most of it false or misleading, to Pauline Kael for her much-criticized essay, "Raising Kane". However, he could never escape from Welles' shadow, and even managed to die on the 50th anniversary of the famous "War of the Worlds" radio broadcast. On his deathbed, he admitted to Welles' biographer, Simon Callow, that "meeting Welles was the most important event of my life".
14. One of his films as a producer was Julius Caesar (1953), which was the first American film for John Gielgud. Gielgud would later turn down the role for which Houseman received an Academy Award, The Paper Chase (1973). However, Gielgud did succeed Houseman in The Winds of War (1983) sequel, War and Remembrance (1988).
15. He worked for only one day on John Carpenter's horror classic The Fog (1980) and was given a "special appearance" credit. His character, Mr. Machen, could be a reference to Arthur Machen, Welsh author and mystic of the 1890s and early 20th century. He is best known for his influential supernatural, fantasy, and horror fiction.
16. Has never appeared in a film nominated for the Best Picture Oscar.
17. Before getting into the theater business, Houseman worked in the grain industry, living in Galveston, Texas.
Personal Quotes
[on Robert Ryan] A disturbing mixture of anger and tenderness who had reached stardom by playing mostly brutal, neurotic roles that were at complete variance with his true"
FYI LTC (Join to see)Sgt John H.PVT Mark Zehner1sg-dan-capriSGT Robert R.CPT Tommy CurtisSGT (Join to see) SGT Steve McFarlandCol Carl WhickerSFC Jack ChampionCpl James R. " Jim" Gossett Jr SPC Jon O.SP5 Jeannie CarleSPC Chris Bayner-CwikPO1 Jerome NewlandTSgt David L.PO1 Robert GeorgeSGT John MelvinISG John Faircloth
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LTC Stephen F.
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LTC Stephen F.
FYI CAPT (Join to see) PO3 (Join to see) PO2 Jonathan Scharff LCDR (Join to see) CMC Robert Young CWO3 Dave Alcantara PO1 John Johnson LTJG Richard BruceGySgt Wayne A. Ekblad SPC Americo Garcia Sgt (Join to see) Cpl (Join to see) LtCol Dave Jonas Cpl Kelly Kendall Sgt Albert Castro SPC Tom DeSmet SPC Woody Bullard Maj Kim Patterson
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I've watched the film; humorous aspects aside, the depiction he gave of the staid faculty member, while I understand the fascination with his depiction from the film, is obviously not actually the way most grad school programs are, at least of those I've seen, or been told about. I've seen clinical doctoral programs, many of them, and am well-acquainted with the psychology of faculty in them; a good friend who'd been in the clinical program I'd been in before my disability explained what he'd gone through when he'd switched to law, in pretty fair depth, as well. So, while his persona might have given the impression that his depiction as faculty was quite real, I can most definitely assure you all that it most definitely wasn't. Further, I took grad-level clinical jurisprudence from a D.O.-J.D. for a semester, and had a pretty fair chance to observe the faculty who'd taught it, his mannerisms, personality, quirks, and idiosyncrasies, and did actually compare him in my mind with the depiction from the film, noting many of the differences, as well as occasional (albeit rare) similarities. Further, I did actually take some grad-level coursework in the Harvard extension program, biochem for a year, as well as neuroscience for a semester; the biochem faculty member was actually quite good, while the neuroscience faculty was utterly abysmal, honest. So, I've seen a good deal of grad-level faculty, at multiple schools I've taken stuff at; trust me, engineering, physics, and math types, as well as clinical types, can all be just as stiff as the depiction he gave in the film would have all of you believe; however, the whole thing with him looking at a seating card to be able to call out names, I assure all of you, is pure fiction, as was all the bar exam prep stuff covered in the film. I did my own clinical licensure exams, plus, I also tried a board exam (missing it by a few points, as I'd needed another week of prep to be able to get it); my friend did his bar exam multiple times before he got it done, and told me exactly what his was like, as I told him about mine, I assure all of you. Purely as entertainment, the film was quite good, I'll freely admit; however, in terms of technical and/or academic accuracy, it left a good deal to be desired, as I'd found out, over the course of many yrs of similar actual exposure, honest, for whatever all those observations might be worth, OK/
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Capt Daniel Goodman
Not, as I'd said, that the film wasn't entertaining...however, as a depiction of actual grad-school reality, at least from all I've seen, no way, I'm afraid....
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