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Shirley Ann Richards (13 December 1917 – 25 August 2006) was an Australian actress and author who achieved notability in a series of 1930s Australian films for Ken G. Hall before moving to the United States, where she continued her career as a film actress, mainly as a Metro-Goldwyn-Mayer starlet.
Richards arrived in the US in early 1942, having left Australia just after the attack on Pearl Harbor. She knew writer Carl Dudley who had written It Isn't Done, Richards' first movie. Through Dudley Richards met producers and agent Leland Hayward which led to her casting in this film. She was given the stage name "Ann Richards" which she kept ...
Breakdown is a 1952 American crime film noir directed by Edmond Angelo starring Ann Richards, William Bishop and Anne Gwynne. It was the last film of Richards before she retired. [1] The film was also known as Decision.
Love Letters is a 1945 American romantic film noir directed by William Dieterle from a screenplay by Ayn Rand, based on the novel Pity My Simplicity by Christopher Massie. It stars Jennifer Jones, Joseph Cotten, Ann Richards, Cecil Kellaway, Gladys Cooper and Anita Louise.
Greg Conrad as Duke Martin; Dolores Carlos as Dorothy Courtney, who also appeared in Diary of a Nudist (1961); Earl Bauer as Steve Martin; Carol Little as Betty; Ann Richards as Ann ...
Ann-Margret, widely considered one of the most beautiful starts of the 1960s and 70s, is still a knockout in 2019 at 78 years old. Ann-Margret, widely considered one of the most beautiful starts ...
Dorothy Ann Richards (née Willis; September 1, 1933 – September 13, 2006) was an American politician who served as the 45th governor of Texas from 1991 to 1995. A Democrat, she first came to national attention as the Texas State Treasurer , when she gave the keynote address at the 1988 Democratic National Convention .
Roger Ebert, in his review in The Great Movies, says Eve Harrington is "a universal type", and focuses on the aging actress plot line, comparing the film to Sunset Boulevard. [24] Similarly, Marc Lee's 2006 review of the film for The Daily Telegraph describes a subtext "into the darker corners of show business, exposing its inherent ageism ...
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