Ray Milland

At 79 years old, Ray Milland physical status not available right now. We will update Ray Milland's height, weight, eye color, hair color, build, and measurements.

Acting career

On the E.A., his first appearance on film was as an uncredited extra. Piccadilly (1929), a Dupont film. He signed with Frank Zeitlin, a talent agent on the recommendation of fellow actor Jack Raine, after some unproductive extra work that never made it to the big screen.

His prowess as a marksman earned him a job at Arthur Robison's The Informer (1929), the first screen version of the Liam O'Flaherty novel. When he was on The Informer, he was invited to perform a production on a neighboring stage. Milland gave director Castleton Knight a favorable review and was hired as Jim Edwards in The Flying Scotsman (also 1929). Milland recalls that on this film set, it was suggested that he adopt a stage name; instead, he selected Milland from the "mill lands" area of his Welsh hometown of Neath.

He received a six-month contract for his work on The Flying Scotsman, the Lady from the Sea and The Plaything, two more Knight-directed films. Milland, who felt that his acting was bad and that he had gained his film roles by accident alone, decided to gain some stage experience to improve his ability. Milland approached him in the hopes of work after learning that club owner Bobby Page was funding a touring company. In a scene of Sam Shipman and Max Marcin's The Woman in Room 13, he was given the role of second lead. Milland, despite being withdrawn from the theatre for five weeks, felt he had gained valuable acting experience.

Milland was approached by MGM vice president Robert Rubin, who had seen the film The Flying Scotsman, during one of his performances. Milland was given a nine-month deal by MGM, which is based in Hollywood. In August 1930, he accepted, leaving the United Kingdom. Milland was used as a'stock' actor,' selecting him for small speaking parts in mainstream productions.

Milland's first film experience culminated in a humiliating scene on the set of Son of India (1931), where film's director Jacques Feyder chastised Milland's appearance in front of the entire crew. Despite the setback, Milland's executives discussed staying in Hollywood, and in 1930, he appeared in his first US film Passion Flower. Bretagne Milland appeared in minor roles for MGM and a handful of films for which he was lent to Warner Bros. In Payment Deferred (1932), Charles Laughton's nephew played his most prominent role during this period.

Milland met Muriel Frances Weber, whom he always described as "Mal," a student at the University of Southern California, during his first time living in the United States. The two were married within eight months of their first meeting. The service, which took place on the 30th of September 1932 at the Riverside Mission Inn, took place on September 30. Daniel, the couple's son, was born and Victoria, their daughter was adopted.

Milland found himself out of work when MGM refused to renew his deal shortly after making Payment Deferred. He spent five months in the United States searching for more acting work, but after little success and a tense friendship with his father-in-law, he returned to England, hoping that two years spent in Hollywood would translate into roles in British films. Milland rode in his first-class return to the United Kingdom and discovered a more cost-effective way back home. Muriel stayed in the United States to complete her studies, and Milland found temporary accommodation in Earl's Court in London.

Milland's life in Britain was difficult, receiving little regular work, but he did end up appearing in two British films. This is the Life and Orders Is Orders Orders (both 1933). Neither of them was in possession of a breakthrough role.

In 1933, Roosevelt's reforms to the US banking system resulted in a temporary decline in the dollar, allowing Milland to return to the United States. He returned to California and found a tiny apartment on Sunset Boulevard, promising Muriel that if he was financially stable, he would buy a house.

Milland took on menial jobs, including those that required acting, with no intention of finding acting roles. He wanted to find regular employment, and through connections forged in his time in the United Kingdom, he was offered the opportunity of an assistant manager of a Shell gas station on Sunset and Clark.

On his return from his fruitful Shell interview, he went through Paramount Pictures' gates, where casting director Joe Egli met him. Although shooting the George Raft picture Bolero (first published in February 1934), the actor's injury had left the studio looking for a prompt replacement. Milland was given a two-week contract at ten times the salary the assistant job would earn. Milland played the role of an actor.

Milland was given a five-week guarantee by Benjamin Glazer to film We're Not Dressing, a new screwball comedy starring Bing Crosby and Carole Lombard (also 1934). During filming, he appeared in a scene with George Burns and Gracie Allen, which Milland recalled as "adlibbed shambles" that he liked better than the original script.

Norman Taurog, the film's director, was so impressed that he called the chief production executive and suggested that Milland be placed on a long-term deal. Milland was offered a seven-year contract with Paramount, beginning at $175 a week, following a short meeting. messenty. Milland was paid a healthy salary, and Muriel and he moved into a flat on Fountain Avenue.

"It's all happened by chance, and I was just there at the right time at the right time." Milland later said.

Milland was employed as part of the speaking cast during his first relationship with Paraphrasedoutput, but not as a top-of-the-bill actor. For example, he was instrumental in the creation of The Glass Key (1935) with George Raft.

Milland was loaned to Universal for Next Time We Love (1936), starring Margaret Sullavan and James Stewart. He appeared in Sophie Lang (1936) and The Big Broadcast of 1937 (1936).

Joe Pasternak, who was looking for a 'English' actor for the lead in his latest film, Three Smart Girls (1936), contacted him. Although Pasternak worked at Universal Studios, Paramount had agreed to lend Milland out for the film.

Milland was used as a test actor in the hunt for a new starlet in The Jungle Princess (1936). Milland wrote in her autobiography that Lamour was taken aback to discover that he was not to be her male lead and she wanted Milland to be her co-star when the studio chose Dorothy Lamour for the lead. Paraphrasedoutput: Paraphrasedoutput: Paraphrasedoutput: Paraphrasedoutput: Paraphrasedoutput: Paraphrasedoutput: Paraphrasedoutput: When Three Smart Girls were introduced to rave reviews, they did a good job with Milland, but they were not interested. Milland's salary increased by 1936 as a result of his resignation, and P

Later career

Milland waited for six months before deciding to return to work, saying, "my wife told me I'd better get a job of some sort because I was making her a nervous wreck... hanging around the house."

Milland appeared in Markham's CBS detective film, originally called Crisis, from 1958 to 1960.

"It's getting more of a desire to keep acting," Milland said during the show's development. I know it's a wonderful way to make a living, but any job you don't like becomes demanding, and acting isn't my thing. I never have. I do it because I can't make a living somewhere else. It embarrases me to stand in front of aIntroducing love scenes from a crew. I'm as well-being as hell, and I want toambulate with it. You wake up early and finish late, and you end up feeling like a lackey."

And though the western Gunsmoke was unable to attract the intended large audience, the performance failed to impress the intended large audience.

He returned to France again in 1960, this time to the French Riviera. However, he became bored quickly and began acting again.

Milland was included in two Roger Corman AIP photographs. The Premature Burial (1962) was the third of Corman's 'Poe Cycle's three books. In the well-received X: The Man with the X-ray Eyes (1963), he portrayed Dr. Xavier.

He appeared in Panic, a self-directed, apocalyptic science-fiction film, also for AIP. (1962).

He continued to guest star on shows such as The Alfred Hitchcock Hour, and he appeared in Quick, Let's Get Married (1964).

Milland returned to the stage and appeared in a traveling version of My Fair Lady, a tribute to the artist. He loved the experience, and in 1966, he appeared as Simon Crawford QC in Reginald Denham's Broadway play Hostile Witness.

The play ran in New York from February to July of this year, the year after which Milland continued to play on the road. In 1968, he reprised his role in a film of the same name, which he also directed. It was his last feature film directed by him.

He appeared in films including Daughter of the Mind (1969), a television film that reunited him with Gene Tierney in the late 1960s and 1970s, as a film character actor.

Milland's original host had been Ronald Reagan in the late 1960s; the series's rebroadcasting of certain episodes of the syndicated Western anthology series, Death Valley Days, was broadcast on the west of the series Trails West. He appeared on Bracken's World and The Name of the Game, as well as in television films such as Company of Killers (1970), River of Gold (1971) and Black Noon (1971).

When he appeared in Love Story (1970), Milland was in his biggest box office in many years.

He was then in Embassy (1972), a British intelligence thriller.

In 1970, he said he worked only two to three months a year as an actor and then resigned for the remainder of the year, although he admitted to having suffered from financial challenges since the sale of his yacht in 1964.

Milland appeared in two horror films in 1972. Milland played a wealthy, cantankerous plantation owner who dumps garbage in a swamp, causing a major change of nature. The Thing with Two Heads, the second in a series of cult hits, is regarded as a cult classic. Milland, a brain surgeon with a terminal illness, transplants his head into a healthy body—that of an American prisoner. He was in Nightmare Park (1973), a comedy chiller, and he was in charge of Terror in the Wax Museum (1973) for television.

In addition, he appeared as a hand surgeon in the Night Gallery's "The Hand of Borrows Weems." In "Death Lends a Hand" (1971) and as a perpetrator in "The Greenhouse Jungle" (1972), he appeared in two episodes of Columbo as a grieving widower and a perpetrator.

Milland appeared in action films including The Big Game (1974), The Student Connection (1974), and Gold (1974), the last of which was opposite Roger Moore; then, he directed another TV horror film, The Dead Don't Die (1975). He appeared in Escape to Witch Mountain (1975) for Disney, as well as guest appearances on programs like Cool Million and Ellery Queen.

Milland said he planned to move to Europe and that he would love "the parts I believe I can get some enjoyment out of."

Milland was the subject of an episode of the British biographical TV series This Is Your Life in 1975.

Milland's Rich Man, Poor Man (1976) was a huge success, earning an Emmy Award for Best Supporting Actor.

He appeared in Aces High (1976), Look What Happened to Rosemary's Baby (1976), and Mayday at 40,000 Feet (1976). (1976) The Last Tycoon (1976), Oil (1977), Testimony of Two Men (1977), and The Pyjama Girl Case (1978), an Italian giallo set in Australia.

He appeared in Cruise Into Terror (1978), The Hardy Boys/Nancy Drew Mysteries, Blackout (1978), and The Darker Side of Terror (1979).

In Saga of a Star World (1978), the first episode of the original Battlestar Galactica television series, he guest-starred Sire Uri. In Oliver's Story (1978), he reprised his role as Ryan O'Neal's father and appeared in several action films, including Spree (1979) and Game for Vultures (1979).

Milland appeared on several Aaron Spelling-produced shows, including Fantasy Island, The Love Boat, Charlie's Angels, and Hart to Hart. He appeared twice as Jennifer Hart's father in the former Labor Era.

In The Attic (1980), he was top-billed, but more often appeared in television films such as The Dream Merchants (1980), Our Family Business (1981), and Princess Diana (1982), Cave In! (1983), and The Masks of Death (1984), a Sherlock Holmes adventure starring Peter Cushing and John Mills.

His last appearances were in The Sea Serpent (1985) and The Gold Key (1985). The latter was a mystery made specifically for video.

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