Ray Milland | |
|---|---|
 Milland in 1947 | |
| Born | Alfred Reginald Jones (1907-01-03)3 January 1907 |
| Died | 10 March 1986(1986-03-10) (aged 79) Torrance, California, U.S. |
| Occupations |
|
| Years active | 1928–1985 |
| Political party | Republican |
| Spouse | |
| Children | 2 |
Ray Milland (bornAlfred Reginald Jones; 3 January 1907 – 10 March 1986) was a Welsh-American actor and film director.[1][2] He is often remembered for his portrayal of an alcoholic writer inBilly Wilder'sThe Lost Weekend (1945), which won himBest Actor at Cannes, aGolden Globe Award, and ultimately anAcademy Award—the first such accolades for any Welsh actor.
Before becoming an actor, Milland served in theHousehold Cavalry of the British Army, becoming a proficient marksman, horseman and aeroplane pilot. He left the army to pursue a career in acting and appeared as an extra in several British productions before getting his first major role inThe Flying Scotsman (1929). This led to a nine-month contract withMGM, and he moved to the United States, where he worked as a stock actor. After his MGM contract ended, Milland was picked up byParamount, which used him in a range of lesser speaking parts, usually as an English character. He was lent toUniversal for theDeanna Durbin musicalThree Smart Girls (1936), and its success led to Milland's playing the lead role inThe Jungle Princess (also 1936) alongside new starletDorothy Lamour. The film was quite successful and raised both to stardom. Milland remained with Paramount for almost 20 years.
Milland appeared in many other notable films, includingEasy Living (1937),Beau Geste (1939),Billy Wilder'sThe Major and the Minor (1942), opposite a corruptJohn Wayne inReap the Wild Wind (1942),The Uninvited (1944),Fritz Lang'sMinistry of Fear (1944),The Big Clock (1948), andThe Thief (1952)—for which he was nominated for his second Golden Globe. Two standout films later in his career includeAlfred Hitchcock'sDial M for Murder (1954) andLove Story (1970). After leaving Paramount, he began directing and moved into television acting.[3] Once Paramount Pictures' highest-paid actor, Milland co-starred alongside many of the most popular actresses of the time, includingGene Tierney,Jean Arthur,Grace Kelly,Lana Turner,Marlene Dietrich,Maureen O'Hara,Ginger Rogers,Jane Wyman,Loretta Young, andVeronica Lake.
Milland was born Alfred Reginald Jones[notes 1] on 3 January 1907 inNeath,Wales, the son of Elizabeth Annie (née Truscott) and steel mill superintendent Alfred Jones.[5][6] He attended local elementary school at Neath and later atRadyr, following his parents' separation. Milland spent a short time at sea prior to one year's attendance atKing's College school inCardiff.[7] Milland was an accomplished rider and undertook work at his uncle's horse-breeding farm.[4] At the age of eighteen, Milland passed the entrance examination to University College Cardiff but did not pursue studies there.[8] Of his parents, he wrote in his 1974 autobiography:
My father was not a cruel or harsh man. Just a very quiet one. I think he was an incurable romantic and consequently a little afraid of his emotions and perhaps ashamed of them ... he had been a younghussar in theBoer War and had been present at the relief ofMafeking. He never held long conversations with anyone, except perhaps with me, possibly because I was the only other male in our family. The household consisted of my mother, a rather flighty and coquettish woman much concerned with propriety and what the neighbours thought.[9]
Prior to becoming an actor, Milland served in theRoyal Horse Guards of theHousehold Cavalry, in 1925.[10] An expert shot, he became a member of his squadron's rifle team, winning many prestigious competitions, including theBisley Match in England. He won the British Army Championship in both pistol and rifle marksmanship.
While he was stationed in London, Milland met a dancer, Margot St Leger, and through her was introduced to the American actressEstelle Brody.[11] Brody queried Milland's commitment to his army career, which led him into buying himself out of the army in 1928 with the hope of becoming an actor.[10][12] (According to one account, he was able to support himself with a £17,000 inheritance from his aunt.[13] Another said that he was forced to drop out when his father refused to continue subsidising him.[14])
It is suggested that Milland's adopted name is derived as a fusion of that of his step father Mullane and a locality in his home town of Neath known as 'The Millands' (The Mill Lands). In his early acting career he was billed both as Spike Milland and Raymond Milland.[15]
His first appearance on film was as an uncredited extra on theE.A. Dupont filmPiccadilly (1929). After some unproductiveextra work, which never reached the screen, he signed with a talent agent named Frank Zeitlin on the recommendation of fellow actorJack Raine.[12]
His prowess as a marksman earned him work as an extra at theBritish International Pictures studio inArthur Robison's production ofThe Informer (1929),[16] the first screen version of theLiam O'Flaherty novel. While he was working onThe Informer, he was asked to test for a production being shot on a neighbouring stage. Milland made a favourable impression on directorCastleton Knight, and was hired for his first acting role as Jim Edwards inThe Flying Scotsman (also 1929).[17] In his autobiography, Milland recalls that on this film set, it was suggested that he adopt a stage name; he chose Milland from the "mill lands" area of his Welsh hometown of Neath.[18]
His work onThe Flying Scotsman resulted in him being granted a six-month contract over the course of which Milland starred in two more Knight-directed films,The Lady from the Sea andThe Plaything (both 1929).[19] Believing that his acting was poor, and that he had won his film roles through his looks alone, Milland decided to gain some stage experience to improve his ability.[20] After hearing that club owner Bobby Page was financing a touring company, Milland approached him in hopes of work. He was given the role of second lead in a production of Sam Shipman andMax Marcin'sThe Woman in Room 13. Despite being released from the play after five weeks, Milland felt that he had gained valuable acting experience.[21]
In between plays, Milland was approached byMGM vice-president Robert Rubin, who had seen the filmThe Flying Scotsman.[22] MGM offered Milland a nine-month contract at $175 a week, based inHollywood. He accepted, leaving the United Kingdom in August 1930.[23] MGM used Milland as a 'stock' player, selecting him for small speaking parts in mainstream productions.[24][25]
Milland's first experience in making a Hollywood film resulted in a humiliating scene on the set ofSon of India (1931), when the film's directorJacques Feyder berated Milland and criticized his acting in front of the entire crew.[26] Despite this setback, the studio executives talked Milland into staying in Hollywood, and in 1930, he appeared in his first US filmPassion Flower.[27] Over the next two years, Milland appeared in minor parts for MGM and a few films for which he was lent toWarner Bros; he was often uncredited. His largest role during this period was asCharles Laughton's nephew inPayment Deferred (1932).[25]
While in this first period working in the United States, Milland met Muriel Frances Weber, whom he always called "Mal", a student at theUniversity of Southern California. Within eight months of first meeting, the two were married. The ceremony took place on 30 September 1932 at theRiverside Mission Inn.[28] The couple had a son, Daniel, and adopted a daughter, Victoria.
Shortly after makingPayment Deferred, Milland found himself out of work when MGM failed to renew his contract. He spent five months in the US attempting to find further acting work, but after little success and a strained relationship with his father-in-law he decided to head back toBritain, hoping that two years spent in Hollywood would lead to roles in British films.[29] Milland cashed in his contracted first-class return ticket to Britain and found an alternative, cheaper way back home. Muriel remained in the States to finish her studies, and Milland found temporary accommodation inEarl's Court in London.
Milland found life in Britain difficult, receiving little regular work, although he finally found parts in two British films,This Is the Life andOrders Is Orders (both 1933).[30] Neither was a breakthrough role.
Then, in 1933, Roosevelt's reforms to the U.S. banking sector led to a temporary weakness in the dollar, allowing Milland to afford a return to the United States.[31] He returned to California, and found a small flat on Sunset Boulevard, promising Muriel that he would buy a home once he was financially stable.
With little prospect of finding acting work, Milland took on menial jobs, including working for abookie. He decided to find regular employment and through connections made during his time in the UK, he was offered the job of assistant manager of a Shell gas station on Sunset and Clark.[32]
On his return from his successful Shell interview, he passed by the gates of Paramount Pictures, where he was approached by casting director Joe Egli. Paramount was filming theGeorge Raft pictureBolero (released in February 1934), but an injury to another British actor had left the studio looking for an urgent replacement.[25] Egli offered Milland a two-week contract, at ten times the salary the assistant job would pay. Milland took the acting role.
After completingBolero, Milland was offered a five-week guarantee byBenjamin Glazer to work on an upcoming screwball comedy starring Bing Crosby and Carole Lombard entitledWe're Not Dressing (also 1934). During filming, he appeared in a scene withGeorge Burns andGracie Allen, which Milland recalls as falling into an "ad-libbed shambles" that he felt was better than the original script. The film's directorNorman Taurog was so impressed, he rang the chief production executive and suggested that Milland be placed on a long-term contract. After a short meeting, Milland was offered a seven-year deal with Paramount starting at $175 a week. The contract gave Milland a secure income, enabling him with Muriel to move into an apartment on Fountain Avenue.[25]
Milland later said "It all happened by luck and I was just there at the right place at the right time."[33]
During his first contract with Paramount, Milland was used as part of the speaking cast, but never as a top-of-the-bill actor. He had a supporting role, for instance, in the originalThe Glass Key (1935) with George Raft.
Milland was lent to Universal forNext Time We Love (1936), withMargaret Sullavan andJames Stewart. Back at Paramount he was inThe Return of Sophie Lang (1936) andThe Big Broadcast of 1937 (1936).
He was contacted byJoe Pasternak, who was looking for an 'English' actor for the lead in his new picture,Three Smart Girls (1936). Although Pasternak worked forUniversal Studios, Paramount had agreed to lend Milland out for the film.[34]
On returning to Paramount afterThree Smart Girls was wrapped, Milland was used as a test actor to find a new starlet forThe Jungle Princess (1936). When the studio choseDorothy Lamour for the lead, Milland wrote in his autobiography that Lamour was confused to find that he was not to be her male lead and she requested Milland to be her co-star. Paramount was not keen, but whenThree Smart Girls was pre-released to rave reviews, they gave Milland the role.[35] By the end of 1936, Milland was being considered for leading roles, and Paramount rewrote his contract, resulting in the tripling of his salary.[36]
After taking a break in Europe, Milland was cast asCaptain Hugh "Bulldog" Drummond inBulldog Drummond Escapes (1937).
Milland was then inWings over Honolulu (1937) with Wendy Barrie, and then inEasy Living (1937), a classic comedy withJean Arthur directed byMitchell Leisen.
Milland didEbb Tide (1937) withFrances Farmer and was then loaned to RKO forWise Girl (1937) withMiriam Hopkins.[37]
Back at Paramount, Milland was reunited with Lamour inHer Jungle Love (1938) andTropic Holiday (1938). He then did a military drama forWilliam Wellman,Men with Wings (1938), co-starringFred MacMurray.
Milland did a comedy,Say It in French (1938), and thenHotel Imperial (1939) withMarlene Dietrich, during the production of which Milland suffered a near-fatal accident on the set. One scene called for him to lead a cavalry charge through a small village. An accomplished horseman, Milland insisted upon doing this scene himself. As he was making a scripted jump on the horse, his saddle came loose, sending him flying straight into a pile of broken masonry. Milland awoke in hospital, where he remained for a week with a badly damaged left hand, a three-inch gash to his head, and a concussion.[38]
After recovering, he appeared as John Geste inBeau Geste (1939), alongsideGary Cooper andRobert Preston and directed by Wellman. The film was a huge hit.20th Century Fox then borrowed him forEverything Happens at Night (1939) oppositeSonja Henie.
According to Milland, a second injury to his left hand occurred in 1939. As well as horse-riding, Milland enjoyed piloting aircraft and in his early career would lease single-seater planes.[39] As a contracted starring actor, Paramount had insisted he give up this hobby.[40] Instead, Milland took up woodworking and outfitted a machine shop at the back of his newly built house. While operating a circular saw, he slipped, catching one of his hands on the saw. The injury resulted in Milland losing a part of his thumb and severely damaging his tendons.[40]
Milland believed that the injury left him with only 50% usage of his hand, but within weeks of the incident, he flew to Britain to star inFrench Without Tears.[41] By the time he returned to America,war was declared in Europe. The year finished with the news that Muriel was pregnant with their son Daniel.
In 1940, Milland appeared in a selection of romantic comedies and dramas alongside some of the leading ladies of the time. These includedIrene oppositeAnna Neagle,The Doctor Takes a Wife oppositeLoretta Young at Columbia,Arise, My Love oppositeClaudette Colbert, andUntamed oppositePatricia Morison. He was a last minute replacement forJoel McCrea onArise which meant he had to drop out of another film,Virginia.[42]
When the United States entered World War II, Milland tried to enlist in theU.S. Army Air Forces, but was rejected because of his impaired left hand. He worked as a civilian flight instructor for the Army, and toured with a United Service Organisation South Pacific troupe in 1944.
As the Second World War continued, Milland found himself now appearing in more action pictures. He starred as a wannabe pilot inI Wanted Wings (1941) withBrian Donlevy,Veronica Lake, andWilliam Holden. This was followed bySkylark (1942) with Claudette Colbert, and two films withPaulette Goddard:The Lady Has Plans (1942) andCecil B. DeMille'sReap the Wild Wind (1942) alongsideJohn Wayne, in which he wastop billed above Wayne.
Milland starred inAre Husbands Necessary? (1942) and subsequentlyBilly Wilder's directorial debut,The Major and the Minor (1942) oppositeGinger Rogers.
Milland appeared in the all-star musicalStar Spangled Rhythm (1943), in which he appeared as himself, singing "If Men Played Cards as Women Do", alongsideFred MacMurray,Franchot Tone, andLynne Overman. He also made an appearance in the collaborative drama,Forever and a Day (1943).
He and Goddard then madeThe Crystal Ball (1943); thereafter, he was Ginger Rogers' leading man inLady in the Dark (1944).
In 1944, Milland starred in the supernatural horror film,The Uninvited, which was notable for its serious treatment ofghosts and hauntingmain theme, and for making a star ofGail Russell. He then starred inFritz Lang'sfilm noir production ofGraham Greene'sMinistry of Fear (also 1944).
He also toured war theatres with USO Shows.[43] At one performance a soldier heckled him, asking why he was not in the army. Milland replied, "With a war on? Are you crazy?"[44]
The pinnacle of Milland's career and acknowledgment of his serious dramatic abilities came when he starred inThe Lost Weekend (1945). Milland recalled how after returning from an emcee engagement in Peru, he found a book delivered to his home, with a note from Paramount's head of productionBuddy DeSylva that read, "Read it. Study it. You're going to play it."[45] Milland found the book unsettling and felt its subject matter, that of an alcoholic writer, to be challenging and alien to him. He was also concerned that it would require 'serious acting', something that he believed he had not undertaken up to that point in his career.[46] The film was to be produced byCharles Brackett and directed byBilly Wilder; the pair were also collaborating to write the screenplay.[47] Milland had already worked with both men, having starred in the comedyThe Major and the Minor (1942), and he was excited by their involvement.
Milland's main concern with taking on the role of Don Birnam inThe Lost Weekend was that he might overact and look amateurish. After a shambolic attempt to act parts of the script while actually drunk, Milland quickly realized that he needed to understand alcoholism.[48] After the cast and crew had arrived on location in New York, Milland was allowed to spend a night in a psychiatric ward ofBellevue Hospital, where the patients were suffering from alcoholism anddelirium tremens. He found the experience extremely disturbing and left at three in the morning.[49] Milland lost eight pounds for the role and spoke with the book's author,Charles R. Jackson, to gain insight into the illness.[50] After the external shots in New York were complete, in which hidden cameras were used to capture Milland walking the streets, the crew returned to Hollywood. Milland found the set work far more challenging, knowing that the close-ups would give his acting no place to hide. Between the strain of acting and the morbidity of the subject, Milland's home life deteriorated and he left for a period of two weeks.[51] When the shoot was over, Muriel and he left for a vacation in Canada. He later said that his role inThe Lost Weekend "was the only part [he was] really proud of."[52]
Returning to filming, Milland was assigned to a Mitchell Leisen-directed historical drama calledKitty (1945), opposite Paulette Goddard.[53] He was meant to follow it withOlympia.[54]
Instead, he did a romantic comedy,The Well-Groomed Bride oppositeOlivia de Havilland. Many of the crew members onThe Well-Groomed Bride had also worked onThe Lost Weekend, and Milland recalled an encounter with a sound mixer, who told him that he had seen a rough cut ofWeekend and thought Milland was not only sure to be nominated for an Academy Award, but that he would probably win. Milland had not considered himself worthy of an award, but over the next few months, he thought of little else, and was desperate to be nominated. After the first preview, reaction was mixed, but Brackett stated that they had produced "something really worthwhile".[55] Milland found the initial feedback to his role congratulatory but hushed, leading him to feel that the film would bomb as a piece of cinema and would be seen as a social document.[55] When the film was released in New York, the favourable reviews took both Milland and the studio by surprise. Milland was lauded, and he not only won that year'sAcademy Award for Best Actor, but also theGolden Globe Award for Best Actor–Drama, theCannes Film Festival Award for Best Actor, theNational Board of Review Award for Best Actor, and theNew York Film Critics Circle Award for Best Actor. He was the first Welsh actor to win an Oscar, and when he collected the award fromIngrid Bergman, he gave one of the shortest acceptance speeches of anyOscar winner.[56] His performance was so convincing, Milland was beleaguered for years by rumours that he actually was an alcoholic.[4] He steadfastly asserted that he was not.
Milland's success inThe Lost Weekend resulted in his contract being rewritten, and he became Paramount's highest-salaried actor. When the film was premiered across Europe, Milland was sent to attend each opening.[57] When he appeared in Cardiff, the capital city of Wales, he was given the keys to the city.[58]
Milland continued working as a leading man after his Oscar win, and stayed contracted to Paramount until the early 1950s. He was teamed withTeresa Wright inThe Imperfect Lady (1946), directed by Lewis Allen. He replacedAlan Ladd in a Western withBarbara Stanwyck,California (1947), directed byJohn Farrow, which was a big hit.[59][60][61]
Milland was reunited with Wright inThe Trouble with Women (1947) and then starred opposite Marlene Dietrich inGolden Earrings (1947). He was one of many Paramount stars who made a cameo inVariety Girl (1947) then went to England to makeSo Evil My Love (1948), produced by Hal Wallis for director Lewis Allen.
Milland made a second film for Farrow,The Big Clock (1948), which has become one of his most highly regarded films.[62][52] He then did his third film with Allen,Sealed Verdict (1948), and a third with Farrow,Alias Nick Beal (1949), which Milland later said was his favourite film.[52]
In July 1948, Paramount suspended him for refusing a part inThe Mark of Lucretia (which becameThe Bride of Vengeance). Milland commented, "it is a part that is out of my normal natural range as an actor."[63]
Milland then went to Fox for the comedy,It Happens Every Spring (1949), and then made a fourth film with Farrow,Copper Canyon (1950).[64] After this, Milland increasingly freelanced.
_trailer_4.jpg)
At Columbia, Milland starred opposite Rosalind Russell inA Woman of Distinction (1950). Then, at MGM, he was directed byGeorge Cukor inA Life of Her Own (1950) alongsideLana Turner, replacingWendell Corey, who had quit the film just three days into filming.[65]
Milland was directed byJacques Tourneur in RKO'sCircle of Danger (1951); set in the United Kingdom, it was the only time he filmed in his home country of Wales.[56] At MGM he was inNight Into Morning (1951) and then a comedy,Rhubarb (1951).
Milland gave a strong performance inClose to My Heart (1951) at Warner Bros, in which he andGene Tierney starred as a couple trying to adopt a child. His next film,Bugles in the Afternoon (1952), also at Warners, was a Western. He played inSomething to Live For (1952), another study of alcoholism at Paramount, withJoan Fontaine.
Milland had a contract to make one film a year with Paramount (who released Pine-Thomas films). He was wanted by producer Harold Popkin to makeThe Thief but Paramount insisted he makeJamaica Run under their contract instead. The impasse was resolved by the intervention of Milland's agents at MCA and filming forJamaica Run was pushed back.[66] ForThe Thief (1952), his role was without dialogue, and he was nominated for a secondGolden Globe. He later remarked that he was proud of the film.[67]
AfterJamaica Run (1953), Milland went to Columbia forLet's Do It Again (1953) withJane Wyman.
He then starred oppositeGrace Kelly andRobert Cummings inAlfred Hitchcock'sDial M for Murder (1954), originally shot in three dimensions. Although never admitted by either, rumours were rife at the time that Kelly and Milland were engaged in an affair, fuelled by notorious gossip columnistHedda Hopper.[68][69][70]
He starred withPhyllis Avery andLloyd Corrigan in theCBSsitcom,Meet Mr. McNutley, from 1953 to 1955. He appeared in the role of an English and Drama professor at the fictitious Lynnhaven College. The sitcom was renamedThe Ray Milland Show in its second season. Milland directed some episodes, and he soon had ambitions to direct features.[71]
At Fox, Milland starred inThe Girl in the Red Velvet Swing (1955). then starred in a TV adaptation ofMarkheim (1956) directed byFred Zinnemann.
After leaving Paramount, Milland concentrated on directing. In his first directorial effort, aWestern entitledA Man Alone (1955), Milland cast himself in the leading role. His co-stars includedMary Murphy andWard Bond. The story depicts the aftermath of a stagecoach robbery. He did the film for a lesser fee in exchange for a chance to direct and a percentage of the profits[72]
He then starred in and directedLisbon (1956), alongsideMaureen O'Hara andClaude Rains. LikeA Man Alone, it was distributed byRepublic Pictures and filmed inTrucolor.[73]
He directed episodes ofThe Ford Television Theatre andSchlitz Playhouse and starred in the featuresThree Brave Men (1956),The River's Edge (1957), a Western directed byAllan Dwan forBenedict Bogeaus, andHigh Flight (1957), an air force melodrama forWarwick Pictures in England.
He appeared in episodes ofSuspicion andGeneral Electric Theater, directing episodes of both. His third feature as director wasThe Safecracker (1958), which was shot in England.[74]
Milland then retired for six months before deciding to go back to work, commenting, "my wife told me I'd better get a job of some kind because I was making her a nervous wreck ... hanging around the house."[75]
From 1958 to 1960, Milland starred in the CBS detective series,Markham, originally calledCrisis.[76]
During the making of the show Milland remarked, "it's becoming more and more of an effort to go on acting. I know it's a wonderful way to make a living but any job you don't like becomes difficult and I just don't like acting. I never have. I do it because I can't make a living any other way. Standing in front of a crew playing love scenes embarasses me. I'm as self conscious as hell and I want to get it over with. You get up too early and you finish too late and you feel like a lackey."[75]
The show failed to capture the expected significant audience, even though it followed the westernGunsmoke.
Do what you can with what you've got. I know actors from my generation who sit at home and cry, 'Why don't they send me any scripts?' I tell them, 'Because you still think of yourself as a leading man. You're 68, not 28. Face it.'[4]
He retired again, this time to the French Riviera in 1960. However, he soon became bored and started acting again.[14]
Milland appeared in twoRoger CormanAIP pictures. The first wasThe Premature Burial (1962) – the third of Corman's 'Poe Cycle'. He then portrayed Dr. Xavier in the well-receivedX: The Man with the X-ray Eyes (1963).
Also for AIP, he starred in the self-directed, apocalyptic science-fiction drama,Panic in Year Zero! (1962).
He continued to guest star on shows likeThe Alfred Hitchcock Hour, and he appeared inQuick, Let's Get Married (1964).
Milland decided to return to the stage and in 1964 appeared as Higgins in a touring version ofMy Fair Lady, with mezzo-sopranoMarilyn Savage as Eliza Doolittle. He enjoyed the experience and in 1966 took the lead role as Simon CrawfordQC in the Broadway play,Hostile Witness, directed byReginald Denham.[77][78]
The play ran in New York from February until July of that year, after which Milland took the play on the road. In 1968, he reprised the role in afilm of the same title, which he also directed. It was the last feature film he directed.[79][80]
He returned as acharacter actor in the late 1960s and the 1970s, appearing in such films asDaughter of the Mind (1969), a television film that reunited him withGene Tierney.
In the late 1960s, Milland hosted rebroadcasts of certain episodes of thesyndicated Westernanthology series,Death Valley Days, under the titleTrails West; the series' original host had beenRonald Reagan. He also guest-starred onBracken's World andThe Name of the Game as well as in TV movies likeCompany of Killers (1970),River of Gold (1971) andBlack Noon (1971).[81]
Milland had his biggest box office success in many years when he played Oliver Barrett III inLove Story (1970).[82] In 1978 Milland reprised his role as Oliver Barrett III inOliver's Story, also written byErich Segal.[83]
He was then inEmbassy (1972), a British spy thriller.
In 1970, he said he worked only two to three months a year acting and spent the rest of the year relaxing, although he admitted that he had suffered some financial troubles since the sale of his yacht in 1964.[84]
In 1972, Milland starred in two horror films. One wasFrogs, co-starringSam Elliott andJoan Van Ark,[85] in which Milland played a wealthy, cantankerous plantation owner who dumps waste materials in a swamp, causing an enormous disruption of nature. The second,The Thing with Two Heads, a blaxploitation film directed by Lee Frost, is considered a cult classic; Milland plays a brain surgeon with a terminal illness who transplants his head onto the healthy body of an African-American prisoner. The following year he was inThe House in Nightmare Park (1973), a comedy chiller, and had the lead in the TV movie,Terror in the Wax Museum (1973).
He also turned in an appearance as a hand surgeon in theNight Gallery episode, "The Hand of Borgus Weems". He guest-starred in two episodes ofColumbo, as a grieving widower in "Death Lends a Hand" (1971) and as a suspect in "The Greenhouse Jungle" (1972).
Milland was in such action films asThe Big Game (1974),The Student Connection (1974), andGold oppositeRoger Moore (1974). Then he did another TV horror film,The Dead Don't Die (1975). He appeared inEscape to Witch Mountain (1975) forDisney and guest starred on shows likeCool Million andEllery Queen.[86]
Around this time, Milland said that he planned on moving to Europe and that he accepted "the parts I figure I can get some enjoyment out of."[33]
In 1975, Milland was the subject of an episode of the British biographical TV series,This Is Your Life.[citation needed]
Milland had a significant success with the TV miniseries,Rich Man, Poor Man (1976), receiving anEmmy nomination forBest Supporting Actor.
He also had roles inThe Swiss Conspiracy (1976),Aces High (1976),Look What's Happened to Rosemary's Baby (1976),Mayday at 40,000 Feet! (1976),The Last Tycoon (1976),Seventh Avenue (1976),Oil (1977),Testimony of Two Men (1977),The Uncanny (1977),Slavers (1977), andThe Pyjama Girl Case (1978), an Italian giallo set in Australia.
He starred inCruise Into Terror (1978),The Hardy Boys/Nancy Drew Mysteries,Blackout (1978), andThe Darker Side of Terror (1979).
He guest-starred as Sire Uri inSaga of a Star World (1978), the pilot episode of the originalBattlestar Galactica television series.[87] He reprised his role as Ryan O'Neal's father inOliver's Story (1978) and appeared in some action films, includingSpree (1979) andGame for Vultures (1979).
Milland guest-starred on severalAaron Spelling-produced shows such asFantasy Island,The Love Boat,Charlie's Angels andHart to Hart. In the latter, he appeared twice as Jennifer Hart's father.
He was top billed inThe Attic (1980), but usually had supporting roles in TV movies likeThe Dream Merchants (1980),Our Family Business (1981),The Royal Romance of Charles and Diana (1982),Starflight: The Plane That Couldn't Land (1983),Cave In! (1983), andThe Masks of Death (1984), a Sherlock Holmes adventure starringPeter Cushing andJohn Mills.
His last appearances were inThe Sea Serpent (1985) andThe Gold Key (1985). The latter was a mystery made specifically for video.[52]
Milland was married to Muriel Frances Weber (31 December 1908 – 6 October 1992) from 30 September 1932 until his death on 10 March 1986.[28] They had one biological son and one adopted daughter. Their son, Daniel, appeared in several minor acting roles in the 1960s and died of an apparent suicide in March 1981, at the age of 41.[88]
Milland became a naturalised American citizen in the 1940s.[89] He supported theRepublican Party and publicly backedThomas E. Dewey in the1944 United States presidential election[90]as well asRichard Nixon in the1968 presidential election.[91]
Milland died oflung cancer at theTorrance Memorial Medical Center inTorrance, California, on 10 March 1986.[6] He was 79 years old.[3][4] In line with his instructions, no funeral was held.[92] His body was cremated, and his ashes were scattered into the Pacific Ocean off the coast ofRedondo Beach, California.
| Year | Programme | Episode/source |
|---|---|---|
| 1946 | This Is Hollywood | The Seventh Veil[93] |
| 1946 | The Jack Benny Program | The Lost Weekend (10 March 1946) |
| 1946 | Screen Guild Players | The Lost Weekend[94] |
| 1953 | Lux Radio Theatre | Close to My Heart[95] |
Monder, Eric.Dashing to the End: The Ray Milland Story. University Press of Mississippi, 2025.ISBN 9781496831491.
