Science Fair Project Encyclopedia
Before becoming an actor, Quinn had been a prizefighter and a painter. He launched his film career playing character roles in several 1936 films, including Parole (his debut) and The Milky Way, after a brief stint in the theater. Quinn remained relegated to playing "ethnic" villains in Paramount films through the 1940s. By 1947, he was a veteran of over 50 films and had played everything from Indians, Mafia dons, Hawaiian chiefs, Chinese guerrillas, and comical Arab sheiks, but he was still not a major star. So he returned to the theater, where for three years he found success on Broadway in such roles as Stanley Kowalski in A Streetcar Named Desire.
Upon his return to the screen in the early 1950s, Quinn was cast in a series of B-adventures like Mask of the Avenger (1951). He got one of his big breaks playing opposite Marlon Brando in Elia Kazan's Viva Zapata! (1952). His supporting role as Zapata's brother won Quinn his first Oscar and after that, Quinn was given larger roles in a variety of features. He went to Italy in 1953 and appeared in several films, turning in one of his best performances as a dim-witted, thuggish, and volatile strongman in Federico Fellini's La Strada (1954). Quinn won his second Best Supporting Actor Oscar portraying the painter Gaugin in Vincente Minnelli's Lust for Life (1956). The following year, he received another Oscar nomination for George Cukor's Wild is the Wind.
During the 1950s, Quinn specialized in tough, macho roles, but as the decade ended, he allowed his age to show. His formerly trim physique filled out, his hair grayed, and his once smooth, swarthy face weathered into an appealing series of crags and crinkles. His careworn demeanor made him an ideal ex-boxer in Requiem for a Heavyweight and a natural for the villainous Bedouin he played in Lawrence of Arabia (both 1962). The success of Zorba the Greek in 1964 was the highwater mark of Quinn's career during the '60s – it offered him another Oscar nomination – and as the decade progressed, the quality of his film work noticeably diminished.
The 1970s offered little change and Quinn became known as a ham, albeit a well-respected one. In 1971, he starred in the short-lived television drama Man in the City . His subsequent television appearances were sporadic (among them Jesus of Nazareth (movie)), though in 1994, he became a semi-regular guest (playing Zeus) on the syndicated Hercules series. Though his film career slowed considerably during the 1990s, Quinn continued to work steadily, appearing in films as diverse as Jungle Fever (1991), Last Action Hero (1993), and A Walk in the Clouds (1995). Shortly after completing his final film role in Avenging Angelo (2001), At the age of 86, Anthony Quinn died of respiratory failure in Boston, Massachusetts.
Quinn proved as volatile and passionate as his screen persona in his personal life. He divorced his wife Katherine, with whom he had three children, in 1956. The following year he embarked on a tempestuous thirty-one-year marriage to costume designer Iolanda Quinn. The union crumbled in 1993 when Quinn had an affair with his secretary that resulted in a baby; the two shared a second child in 1996. In total, Quinn has fathered thirteen children and has had three known mistresses.
Father of Alex A. Quinn , Francesco Quinn , Lorenzo Quinn , and Valentina Quinn .
Painting and Writing
Quinn was a student and friend of Frank Lloyd Wright
In his free time, when he wasn't acting, Quinn continued to paint and became a well-known artist.
Anthony Quinn wrote and co-wrote two memoirs, The Original Sin (1972) and One Man Tango (1997). In the latter, Quinn is candid and apologetic about some of his past's darker moments.
- "I never get the girl. I wind up with a country instead."
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