Anthony Quinn

On August 26, 2018, he was honored with a day of his film work during the TCM Summer Under The Stars.

Lived in Bristol, Rhode Island, and befriended controversial Providence mayor Buddy Cianci. Quinn was posthumously inducted into the Rhode Island Heritage Hall of Fame in 2015.

According to Joseph McBride's Searching for John Ford (St. Martin's Press, 2001 - ISBN 0312242328), director John Ford was urged to cast Richard Boone and Quinn as the Little Wolf and Dull Knife characters in Cheyenne Autumn (1964), as both allegedly had Native American blood. Ricardo Montalban and Gilbert Roland, who were of Mexican ancestry, were cast instead.

Was very fond of Keanu Reeves. They became friends during the filming of A Walk in the Clouds (1995).

In 1991 he was scheduled to appear in David Lean's adaptation of Joseph Conrad's Nostromo, but Lean's death in April 1991 brought the production to an end.

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). Quinn lived out the latter years of his life in Bristol, Rhode Island, where he spent most of his time painting and sculpting.

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).

Unfortunately, the following decade saw him slip back into playing ethnic types again, in such critical bombs as The Greek Tycoon (1978).

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).

Around 1972, he announced his desire to play Henry Cristophe, the 19th-century emperor of Haiti. Upon this announcement, several prominent black actors, including Ossie Davis and Ellen Holly, stated that they were opposed to a "white man" playing "black". Davis stated, "My black children need black heroes on which to model their behavior. Henry Cristophe is an authentic black hero. Tony, for all my admiration of him as a talent, will do himself and my children a great disservice if he encourages them to believe that only a white man, and Tony is white to my children, is capable of playing a black hero.".

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.

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.

Zorba the Greek (1964)), which brought him his fourth, and last, Oscar nomination as Best Actor.

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.

He met his second wife, Jolanda Addolori, a wardrobe assistant, while he was in Rome filming Barabbas (1961). Alternating between Europe and Hollywood, Quinn built his reputation and entered the front rank of character actors and character leads.

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).

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).

In the 1960s, Quinn told Life magazine that he would fight against typecasting.

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.

He received his third Oscar nomination (and first for Best Actor) for George Cukor's Wild Is the Wind (1957).

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).

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-American to win an Oscar.

Brando and Elia Kazan, who directed "Streetcar" on Broadway and on film (A Streetcar Named Desire (1951)), were crucial to Quinn's future success.

As a Mexican national (he did not become an American citizen until 1947), 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.

As 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).

Had five children, Christopher Quinn (born October 27, 1938 - died March 15, 1941), Christina Quinn (born December 1, 1941), Catalina Quinn (born November 21, 1942), Duncan Quinn (born August 4, 1945) and Valentina Quinn (born December 26, 1952), with Katherine DeMille. Had three children, Francesco Quinn (born March 22, 1963 - died August 5, 2011), Danny Quinn (born April 16, 1964) and Lorenzo Quinn (born May 7, 1966), with Jolanda Addolori. Had two children, Sean Quinn (born February 7, 1973) and Alex A. Quinn (born December 30, 1976), with Friedel Dunbar and had two children, Antonia Quinn (born July 23, 1993) and Ryan Quinn (born July 5, 1996), with Kathy Benvin.

Appeared in five films that have been selected for the National Film Registry by the Library of Congress as being "culturally, historically or aesthetically" significant: Daughter of Shanghai (1937), Road to Morocco (1942), The Ox-Bow Incident (1942), Lawrence of Arabia (1962) and King: A Filmed Record... Montgomery to Memphis (1970).

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.

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. His paternal grandfather was Irish, and the rest of his family was Mexican. 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 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.

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).