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15 de dic. de 2023 · Hello, Classic Hollywood enthusiasts! 📽️ Today, we embark on a spellbinding journey to honor the luminous Lionel Atwill, a true icon of the silver screen. ?...
22 de oct. de 2015 · Lionel Atwill said that in 1941, and let’s just say his timing could have been a little better. After an extremely successful (if comparatively brief) career on Broadway in the mid-1910s, ...
Inspector Krogh (Lionel Atwill) loses his arm a second time to the Monster (Boris Karloff) as he attempts to save young Peter von Frankenstein (Donnie Dunagan) in Son of Frankenstein (Universal 1939) The most interesting – and accomplished – actors in horror embrace a variety of work from outside the genre. Atwill painstakingly built his ...
From Wikipedia, the free encyclopedia. Lionel Atwill (1 March 1885 – 22 April 1946) was an English stage and film actor born in Croydon, London, England. He studied architecture before his stage debut at the Garrick Theatre, London in 1904. He become a star in Broadway theatre by 1918, and made his screen debut in 1919. He acted on the stage in Australia but was most famous for his U.S ...
10 de feb. de 2024 · Sadly, Atwill’s life was cut short when he passed away on April 22 nd, 1946, at the age of 61 years of age after battling lung cancer and pneumonia. Despite the challenges and controversies, he faced throughout his life, Lionel Atwill’s contributions to cinema endure as a testament to his talent and dedication.
16 de dic. de 2018 · Lionel Atwill’s Double Life. Lionel Atwill, a fixture of action and horror films throughout the 1930s and 1940s, is a familiar face whose background was unknown to me, so I figured he’d be great to write about for the 7th Annual What A Character! Blogathon. To be honest, there’s a lot more story here than I expected.
21 de abr. de 2020 · Lionel Atwill in Mystery of the Wax Museum. Released at the tail end of the 1930s horror craze, Mystery of the Wax Museum (1933) delivered chills with its macabre plot (thought “too ghastly for comfort” and “unhealthy” by one New York Times critic) and effective use of the surreal two-color Technicolor palette, which was soon phased out for the more realistic three-color process.
