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Mature Male Models Biography

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From All Movie Guide: The first male film star to be officially labelled a "hunk," Victor Mature was the son of Swiss immigrants. When he arrived in California to study acting at the Pasadena Playhouse, Mature was so broke that he lived in a pup tent in a vacant lot and subsisted on canned sardines and chocolate bars. There was speculation amongst his fellow students that Mature's spartan lifestyle was deliberately engineered to draw publicity to himself; if so, the ploy worked, and by 1938 he'd been signed to a contract by producer Hal Roach. Mature's first starring film role was as Tumack the caveman in Roach's One Million BC (1940), which enabled the fledgling actor to display his physique without being unduly encumbered by dialogue. While still under contract to Roach, Mature made his Broadway debut in the Moss Hart/Kurt Weill musical Lady in the Dark, playing a musclebound male model. In 1941, Mature was signed by 20th Century-Fox as the "beefcake" counterpart to the studio's "cheesecake" star Betty Grable; the two attractive stars were frequently cast together in Fox musicals, where a lack of clothes was <I>de rigeur</I>. Apparently because of his too-handsome features, the press and fan magazines went out of their way to make Mature look ridiculous and untalented. In truth, he had more good film performances to his credit than one might think: he was excellent as the tubercular Doc Holliday in John Ford's My Darling Clementine (1948), and also registered well in Kiss of Death (1947), Cry of the City (1948), The Egyptian (1954), Betrayed (1954), and Chief Crazy Horse (1955). As the slave Demetrius in The Robe (1953), Mature is more understated and credible than the film's "distinguished" but hopelessly hammy star Richard Burton. Nonetheless, and thanks to such cinematic folderol as Samson and Delilah (1949), Mature was still widely regarded as a lousy actor who survived on the basis of his looks. Rather than fight this ongoing perception, Mature tended to denigrate his own histrionic ability in interviews; later in his career, he hilariously parodied his screen image in such films as After the Fox (1966) and Won Ton Ton, the Dog Who Saved Hollywood (1976). Semi-retired from acting in the late 1970s, Victor Mature ran a successful television retail shop in Hollywood, although in 1984 he did appear in a TV remake of Samson and Delilah, effectively portraying Samson's father. ~ Hal Erickson, Rovi.Victor John Mature was born on Jan. 29, 1913, in Louisville, KY. The only surviving child of an Italian immigrant and a native Kentuckian of Swiss origin, Mature was a high-spirited but undisciplined youth who was expelled from a number of public and parochial schools - among them the Kentucky Military Institute, where his fondness for partying and disdain for regimentation earned him the nickname Cadet Slob. Dropping out of school at 14, Mature joined the workforce as his father's assistant in a refrigeration business before breaking out on his own to labor as an elevator operator and a salesman for a candy wholesaler. Relying on his native charm and innate abilities as a performer, Mature did well in sales, using his profits to buy a restaurant - which he promptly sold at a profit. In 1935, Mature alighted on the idea of traveling west to Hollywood to become an actor. Packing a reserve of candy with which he could barter for food and gas while on the road, Mature arrived in Los Angeles with eleven cents to his name and pointed himself immediately toward the Hollywood casting agents.

Advised that he would better his chances by gaining experience, Mature attended an open audition at the Pasadena Playhouse, whose founder, Gilmore Brown, allowed the Hollywood hopeful a work-study program and a place to live - a tent on Playhouse property. Additional manual labor included stints as a YMCA janitor and car waxer-polisher, while Mature learned to speak and move onstage, to fence, and even to box. Never one for books, Mature began reading scores of plays and novels. He made his Pasadena Playhouse debut in "Paths of Glory" in November 1936, later winning a scholarship that allowed him to devote more time to acting. In 1939, he was spotted in a production of Ben Hecht's "To Quito and Back" by Frank Ross, vice president of Hal Roach Studios. Impressed with the strapping Mature's physical presence, Ross brokered the newbie actor his feature film debut in "The Housekeeper's Daughter" (1939), as a lovelorn gangster named Lefty. Though Mature's screen time amounted to mere minutes, he received over 20,000 pieces of fan mail, prompting Hal Roach to beef Mature up to leading man status for the campy prehistoric adventure "One Million Years, B.C." (1940), co-starring an equally impressive specimen and fellow newcomer, Carole Landis.

Hedging his bet, Roach limited Mature's dialogue in "One Million Years, B.C.," and costumed his newly-minted leading man in loincloths that showcased his muscular build. Mature fared slightly better in the swashbuckler "Captain Caution" (1940). The declining fortunes of Hal Roach necessitated a merger with RKO Radio Pictures, for whom Mature appeared in select films prior to his contract being bought out by 20th Century Fox. It was at Fox that Mature came into his own, starring as a wrongly accused man in the noir thriller "I Wake Up Screaming" (1941), co-starring the studio's biggest asset, Betty Grable. World War II put Mature's career on hold as he served with the United States Coast Guard as a seaman second class, seeing action on a convoy ship in the North Atlantic and the Philippine Islands. Having already weathered two short-lived marriages, Mature proposed wedlock to his "My Gal Sal" (1942) co-star Rita Hayworth, only to have the red-headed bombshell marry filmmaker Orson Welles while he was at war. Discharged in November 1945, Mature returned to Fox, where John Ford cast him as the consumptive Doc Holliday in "My Darling Clementine" (1946) opposite Henry Fonda as Wyatt Earp.

If Mature had been derided by critics for his early bare-chested film roles, he proved his dramatic mettle in "Clementine," holding his own against a cast of veteran troupers and drawing respectful notices from Variety and The New York Times. His scored high marks as well in complex roles in Gregory Ratoff's Victorian melodrama "Moss Rose" (1947) opposite Vincent Price and Peggy Cummins, and in Henry Hathaway's "Kiss of Death" (1947), playing a widowed ex-con desperate enough to win back the custody of his young daughters to betray underworld comrade Richard Widmark. With the advent of widescreen and the standardization of Technicolor, Mature was able to broaden his palate from crime and cowboy films to biblical epics. Success as the brawny half of "Samson and Delilah" (1949) for Cecil B. DeMille put Mature in the frame with esteemed British leading man Richard Burton in Henry Koster's CinemaScope production "The Robe" (1950). Mature reprised the role of the Greek slave Demetrius in "Demetrius and the Gladiators" (1954) and was the hunky pharaoh Hormeheb in Michael Curtiz' "The Egyptian" (1954) opposite Gene Tierney and Jeanne Simmons.

Mature Male Models Tumblr Face With Tattoos With Clothes In Suits With Long Hair With Beards In Casual Wear Images Photoshoot