Route Resolved ✅
Package: @imdb/name
Pattern: /name/[nconst]
Params: {"nconst":"nm0000063"}
SSR Data
{
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"name": {
"id": "nm0000063",
"nameText": {
"text": "Anthony Quinn"
},
"birthDate": {
"dateComponents": {
"year": 1915,
"month": 4,
"day": 21
}
},
"deathDate": {
"dateComponents": {
"year": 2001,
"month": 6,
"day": 3
}
},
"bio": {
"plainText": "Anthony Quinn was born Antonio Rodolfo Quinn Oaxaca (some sources indicate Manuel Antonio Rodolfo Quinn Oaxaca) on April 21, 1915, in Chihuahua, Mexico, to Manuela (Oaxaca) and Francisco Quinn, who became an assistant cameraman at a Los Angeles (CA) film studio.\n\nAfter starting life in extremely modest circumstances in Mexico, his family moved to Los Angeles, where he grew up in the Boyle Heights and Echo Park neighborhoods. He played in the band of evangelist Aimee Semple McPherson as a youth and as a deputy preacher. He attended Polytechnic High School and later Belmont High, but eventually dropped out. The young Quinn boxed (which stood him in good stead as a stage actor, when he played Stanley Kowalski in \"A Streetcar Named Desire\" to rave reviews in Chicago), then later studied architecture under Frank Lloyd Wright at the great architect's studio, Taliesin, in Arizona. Quinn was close to Wright, who encouraged him when he decided to give acting a try. Made his credited film debut in Parole! (1936). After a brief apprenticeship on stage, Quinn hit Hollywood in 1936 and picked up a variety of small roles in several films at Paramount, including an Indian warrior in The Plainsman (1936), which was directed by the man who later became his father-in-law, Cecil B. DeMille.\n\nAs a contract player at Paramount, Quinn's roles were mainly ethnic types, such as an Arab chieftain in the Bing Crosby-Bob Hope comedy, Road to Morocco (1942). As a Mexican national, he was exempt from the draft. With many other actors in military service during WWII, he was able to move up into better supporting roles. He married DeMille's daughter Katherine DeMille, which afforded him entrance to the top circles of Hollywood society. He became disenchanted with his career and did not renew his Paramount contract despite the advice of others, including his father-in-law, with whom he did not get along (whom Quinn reportedly felt had never accepted him due to his Mexican roots; the two men were also on opposite ends of the political spectrum) but they eventually were able to develop a civil relationship. Quinn returned to the stage to hone his craft. His portrayal of Stanley Kowalski in \"A Streetcar Named Desire\" in Chicago and on Broadway (where he replaced the legendary Marlon Brando, who is forever associated with the role) made his reputation and boosted his film career when he returned to the movies.\n\nBrando and Elia Kazan, who directed \"Streetcar\" on Broadway and on film (A Streetcar Named Desire (1951)), were crucial to Quinn's future success. Kazan, knowing the two were potential rivals due to their acclaimed portrayals of Kowalski, cast Quinn as Brando's brother in his biographical film of Mexican revolutionary Emiliano Zapata, Viva Zapata! (1952). Quinn won the Best Supporting Actor Academy Award for 1952, making him the first Mexican to win an Oscar. It was not to be his lone appearance in the winner's circle: he won his second Supporting Actor Oscar in 1957 for his portrayal of Paul Gauguin in Vincente Minnelli's biographical film of Vincent van Gogh, Lust for Life (1956), opposite Kirk Douglas. Over the next decade Quinn lived in Italy and became a major figure in world cinema, as many studios shot films in Italy to take advantage of the lower costs (\"runaway production\" had battered the industry since its beginnings in the New York/New Jersey area in the 1910s). He appeared in several Italian films, giving one of his greatest performances as the circus strongman who brutalizes the sweet soul played by Giulietta Masina in her husband Federico Fellini's masterpiece La Strada (1954). He met his second wife, Jolanda Addolori, a wardrobe assistant, while he was in Rome filming Barabbas (1961).\n\nAlternating between Europe and Hollywood, Quinn built his reputation and entered the front rank of character actors and character leads. He received his third Oscar nomination (and first for Best Actor) for George Cukor's Wild Is the Wind (1957). He played a Greek resistance fighter against the Nazi occupation in the monster hit The Guns of Navarone (1961) and received kudos for his portrayal of a once-great boxer on his way down in Rod Serling's Requiem for a Heavyweight (1962). He went back to playing ethnic roles, such as an Arab warlord in David Lean's masterpiece Lawrence of Arabia (1962), and he played the eponymous lead in the \"sword-and-sandal\" blockbuster Barabbas (1961). Two years later, he reached the zenith of his career, playing Zorba the Greek in the film of the same name (a.k.a. Zorba the Greek (1964)), which brought him his fourth, and last, Oscar nomination as Best Actor. The 1960s were kind to him: he played character leads in such major films as The Shoes of the Fisherman (1968) and The Secret of Santa Vittoria (1969). However, his appearance in the title role in the film adaptation of John Fowles' novel, The Magus (1968), did nothing to save the film, which was one of that decade's notorious turkeys.\n\nIn the 1960s, Quinn told Life magazine that he would fight against typecasting. Unfortunately, the following decade saw him slip back into playing ethnic types again, in such critical bombs as The Greek Tycoon (1978). He starred as the Hispanic mayor of a southwestern city on the short-lived television series The Man and the City (1971), but his career lost its momentum during the 1970s. Aside from playing a thinly disguised Aristotle Onassis in the cinematic roman-a-clef The Greek Tycoon (1978), his other major roles of the decade were as Hamza in the controversial The Message (1976) (a.k.a. \"Mohammad, Messenger of God\"); as the Italian patriarch in The Inheritance (1976); yet another Arab in Caravans (1978); and as a Mexican patriarch in The Children of Sanchez (1978). In 1983, he reprised his most famous role, Zorba the Greek, on Broadway in the revival of the musical \"Zorba\" for 362 performances (opposite Lila Kedrova, who had also appeared in the film, and won an Oscar for Best Supporting Actress for her performance). His career slowed during the 1990s but he continued to work steadily in films and television, including an appearance with frequent film co-star Maureen O'Hara in Only the Lonely (1991).\n\nQuinn lived out the latter years of his life in Bristol, Rhode Island, where he spent most of his time painting and sculpting. Beginning in 1982, he held numerous major exhibitions in cities such as Vienna, Paris, and Seoul. He died in a hospital in Boston at age 86 from pneumonia and respiratory failure linked to his battle with throat cancer."
},
"bioHtml": "Anthony Quinn was born Antonio Rodolfo Quinn Oaxaca (some sources indicate Manuel Antonio Rodolfo Quinn Oaxaca) on April 21, 1915, in Chihuahua, Mexico, to Manuela (Oaxaca) and Francisco Quinn, who became an assistant cameraman at a Los Angeles (CA) film studio.<br/><br/>After starting life in extremely modest circumstances in Mexico, his family moved to Los Angeles, where he grew up in the Boyle Heights and Echo Park neighborhoods. He played in the band of evangelist <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm2492420/\">Aimee Semple McPherson</a> as a youth and as a deputy preacher. He attended Polytechnic High School and later Belmont High, but eventually dropped out. The young Quinn boxed (which stood him in good stead as a stage actor, when he played Stanley Kowalski in "A Streetcar Named Desire" to rave reviews in Chicago), then later studied architecture under <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0942394/\">Frank Lloyd Wright</a> at the great architect's studio, Taliesin, in Arizona. Quinn was close to Wright, who encouraged him when he decided to give acting a try. Made his credited film debut in <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0028087/\">Parole! (1936)</a>. After a brief apprenticeship on stage, Quinn hit Hollywood in 1936 and picked up a variety of small roles in several films at Paramount, including an Indian warrior in <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0028108/\">The Plainsman (1936)</a>, which was directed by the man who later became his father-in-law, <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001124/\">Cecil B. DeMille</a>.<br/><br/>As a contract player at Paramount, Quinn's roles were mainly ethnic types, such as an Arab chieftain in the <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001078/\">Bing Crosby</a>-<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001362/\">Bob Hope</a> comedy, <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0035262/\">Road to Morocco (1942)</a>. As a Mexican national, he was exempt from the draft. With many other actors in military service during WWII, he was able to move up into better supporting roles. He married DeMille's daughter <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0218490/\">Katherine DeMille</a>, which afforded him entrance to the top circles of Hollywood society. He became disenchanted with his career and did not renew his Paramount contract despite the advice of others, including his father-in-law, with whom he did not get along (whom Quinn reportedly felt had never accepted him due to his Mexican roots; the two men were also on opposite ends of the political spectrum) but they eventually were able to develop a civil relationship. Quinn returned to the stage to hone his craft. His portrayal of Stanley Kowalski in "A Streetcar Named Desire" in Chicago and on Broadway (where he replaced the legendary <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000008/\">Marlon Brando</a>, who is forever associated with the role) made his reputation and boosted his film career when he returned to the movies.<br/><br/>Brando and <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0001415/\">Elia Kazan</a>, who directed "Streetcar" on Broadway and on film (<a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0044081/\">A Streetcar Named Desire (1951)</a>), were crucial to Quinn's future success. Kazan, knowing the two were potential rivals due to their acclaimed portrayals of Kowalski, cast Quinn as Brando's brother in his biographical film of Mexican revolutionary <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0953176/\">Emiliano Zapata</a>, <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0045296/\">Viva Zapata! (1952)</a>. Quinn won the Best Supporting Actor Academy Award for 1952, making him the first Mexican to win an Oscar. It was not to be his lone appearance in the winner's circle: he won his second Supporting Actor Oscar in 1957 for his portrayal of <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm1917169/\">Paul Gauguin</a> in <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0591486/\">Vincente Minnelli</a>'s biographical film of <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0994883/\">Vincent van Gogh</a>, <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0049456/\">Lust for Life (1956)</a>, opposite <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000018/\">Kirk Douglas</a>. Over the next decade Quinn lived in Italy and became a major figure in world cinema, as many studios shot films in Italy to take advantage of the lower costs ("runaway production" had battered the industry since its beginnings in the New York/New Jersey area in the 1910s). He appeared in several Italian films, giving one of his greatest performances as the circus strongman who brutalizes the sweet soul played by <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0556399/\">Giulietta Masina</a> in her husband <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000019/\">Federico Fellini</a>'s masterpiece <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0047528/\">La Strada (1954)</a>. He met his second wife, Jolanda Addolori, a wardrobe assistant, while he was in Rome filming <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0055774/\">Barabbas (1961)</a>.<br/><br/>Alternating between Europe and Hollywood, Quinn built his reputation and entered the front rank of character actors and character leads. He received his third Oscar nomination (and first for Best Actor) for <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0002030/\">George Cukor</a>'s <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0051193/\">Wild Is the Wind (1957)</a>. He played a Greek resistance fighter against the Nazi occupation in the monster hit <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0054953/\">The Guns of Navarone (1961)</a> and received kudos for his portrayal of a once-great boxer on his way down in <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0785245/\">Rod Serling</a>'s <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0056406/\">Requiem for a Heavyweight (1962)</a>. He went back to playing ethnic roles, such as an Arab warlord in <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000180/\">David Lean</a>'s masterpiece <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0056172/\">Lawrence of Arabia (1962)</a>, and he played the eponymous lead in the "sword-and-sandal" blockbuster <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0055774/\">Barabbas (1961)</a>. Two years later, he reached the zenith of his career, playing Zorba the Greek in the film of the same name (a.k.a. <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0057831/\">Zorba the Greek (1964)</a>), which brought him his fourth, and last, Oscar nomination as Best Actor. The 1960s were kind to him: he played character leads in such major films as <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0258962/\">The Shoes of the Fisherman (1968)</a> and <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0064952/\">The Secret of Santa Vittoria (1969)</a>. However, his appearance in the title role in the film adaptation of <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0288826/\">John Fowles</a>' novel, <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0063260/\">The Magus (1968)</a>, did nothing to save the film, which was one of that decade's notorious turkeys.<br/><br/>In the 1960s, Quinn told Life magazine that he would fight against typecasting. Unfortunately, the following decade saw him slip back into playing ethnic types again, in such critical bombs as <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0077636/\">The Greek Tycoon (1978)</a>. He starred as the Hispanic mayor of a southwestern city on the short-lived television series <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0066683/\">The Man and the City (1971)</a>, but his career lost its momentum during the 1970s. Aside from playing a thinly disguised <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm1238516/\">Aristotle Onassis</a> in the cinematic roman-a-clef <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0077636/\">The Greek Tycoon (1978)</a>, his other major roles of the decade were as Hamza in the controversial <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0074896/\">The Message (1976)</a> (a.k.a. "Mohammad, Messenger of God"); as the Italian patriarch in <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0074487/\">The Inheritance (1976)</a>; yet another Arab in <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0077296/\">Caravans (1978)</a>; and as a Mexican patriarch in <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0077326/\">The Children of Sanchez (1978)</a>. In 1983, he reprised his most famous role, Zorba the Greek, on Broadway in the revival of the musical "Zorba" for 362 performances (opposite <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0444321/\">Lila Kedrova</a>, who had also appeared in the film, and won an Oscar for Best Supporting Actress for her performance). His career slowed during the 1990s but he continued to work steadily in films and television, including an appearance with frequent film co-star <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/name/nm0000058/\">Maureen O'Hara</a> in <a class=\"ipc-md-link ipc-md-link--entity\" href=\"/title/tt0102598/\">Only the Lonely (1991)</a>.<br/><br/>Quinn lived out the latter years of his life in Bristol, Rhode Island, where he spent most of his time painting and sculpting. Beginning in 1982, he held numerous major exhibitions in cities such as Vienna, Paris, and Seoul. He died in a hospital in Boston at age 86 from pneumonia and respiratory failure linked to his battle with throat cancer.",
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