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George Orson Welles (May 6, 1915 – October 10, 1985)

George Orson Welles (May 6, 1915 – October 10, 1985) was an American director, actor, writer, producer, and magician who is remembered for his innovative work in film, radio, and theatre.^[1][2] He is among the greatest and most influential filmmakers of all time.^[3]

Aged 21, Welles directed high-profile stage productions for the Federal Theatre Project in New York City—starting with a celebrated 1936 adaptation of Macbeth with an African-American cast, and ending with the political musical The Cradle Will Rock in 1937. He and John Houseman founded the Mercury Theatre, an independent repertory theatre company that presented productions on Broadway through 1941, including a modern, politically charged Caesar (1937). In 1938, his radio anthology series The Mercury Theatre on the Air gave Welles the platform to find international fame as the director and narrator of a radio adaptation of H. G. Wells‘s novel The War of the Worlds, which caused some listeners to believe a Martian invasion was occurring. The event rocketed the 23-year-old to notoriety.^[4]

His first film was Citizen Kane (1941), which he  co-wrote, produced, directed and starred in as the title character, Charles Foster Kane. Cecilia Ager, reviewing it in PM Magazine, wrote: “Seeing it, it’s as if you never really saw a movie before.”^[5] It has been consistently ranked as one of the greatest films ever made. He directed twelve other features, the most acclaimed of which include The Magnificent Ambersons (1942), Othello (1951), Touch of Evil (1958), The Trial (1962), and Chimes at Midnight(1966).^[6][7] Welles also acted in other directors’ films, playing Rochester in Jane Eyre (1943), Harry Lime in The Third Man (1949), and Cardinal Wolsey in A Man for All Seasons (1966).

His distinctive directorial style featured layered and nonlinear narrative forms, dramatic lighting, unusual camera angles, sound techniques borrowed from radio, deep focus shots and long takes. He has been praised as “the ultimate auteur“.^[8]: 6 Welles was an outsider to the studio system and struggled for creative control on his projects early on with the major film studios in Hollywood and later with a variety of independent financiers across Europe, where he spent most of his career. Welles received an Academy Award and three Grammy Awards among other honors such as the Golden Lion in 1947, the Palme D’Or in 1952, the Academy Honorary Award in 1970, the AFI Life Achievement Award in 1975, and the British Film Institute Fellowship in 1983. In 2002, he was voted the greatest ever film director of in British Film Institute polls among directors and critics.^[9][10] In 2018, he was included in the list of the greatest Hollywood actors of all time by The Daily Telegraph.^[11] Micheál Mac Liammóir, who worked with the 16-year-old Welles on the  stage in Dublin and played Iago in his film Othello (1951), wrote that “Orson’s courage, like everything else about him, imagination, egotism, generosity, ruthlessness, forbearance, impatience, sensitivity, grossness and vision is magnificently out of proportion.”^{[12]: xxxvii}

https://en.wikipedia.org/wiki/Orson_Welles

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Norma Jeane Mortenson; June 1, 1926 – August 4, 1962

Marilyn Monroe (/ˈmærəlɪn mənˈroʊ/ MARR-ə-lin mən-ROH; born Norma Jeane Mortenson; June 1, 1926 – August 4, 1962) was an American actress and model. Known for playing comic “blonde bombshell” characters, she became one of the most popular sex symbols of the 1950s and early 1960s, as well as an emblem of the era’s sexual revolution. She was a top-billed actress for a decade, and her films grossed $200 million (equivalent to $2 billion in 2024) by her death in 1962.^[1]

Born in Los Angeles, Monroe spent most of her childhood in foster homes and an orphanage before marrying James Dougherty at the age of 16. She was working in a factory during World War II when she met a photographer from the First Motion Picture Unit and began a successful pin-up modeling career, which led to short-lived film contracts with 20th Century Fox and Columbia Pictures. After roles as a freelancer, she began a longer contract with Fox in 1951, becoming a popular actress with roles in several comedies, including As Young as You Feel and Monkey Business, and in the dramas Clash by Night and Don’t Bother to Knock. Monroe faced a scandal when it was revealed that she had posed for nude photographs prior to fame, but the story resulted in increased interest in her films.

Monroe became one of the most marketable Hollywood stars in 1953. She had leading roles in the film noir Niagara, which overtly relied on her sex appeal, and the comedies Gentlemen Prefer Blondes and How to Marry a Millionaire, which established her star image as a “dumb blonde“. The same year, her nude images were used as the centerfold and cover of the first issue of Playboy. Monroe played a significant role in the creation and management of her public image, but felt disappointed when typecast and underpaid by the studio. She was briefly suspended in early 1954 for refusing a film project but returned to star in The Seven Year Itch (1955), one of the biggest box office successes of her career.

When the studio was still reluctant to change Monroe’s contract, she founded her own film production company in 1954 with her friend Milton Greene. She dedicated 1955 to building the company and began studying method acting under Lee Strasberg at the Actors Studio. Later that year, Fox awarded her a new contract, which gave her more control and a larger salary. Her subsequent roles included a critically acclaimed performance in Bus Stop (1956) and her first independent production in The Prince and the Showgirl (1957), for which she received a BAFTA nomination. She won a Golden Globe for her role in Some Like It Hot (1959), a critical and commercial success. Her last completed film was the drama The Misfits (1961).

Monroe’s troubled private life received much attention. Her marriages to retired baseball star Joe DiMaggio and to playwright Arthur Miller were highly publicized; both ended in divorce. On August 4, 1962, Monroe died at age 36 of an overdose of barbiturates at her Los Angeles home. Her death was ruled a probable suicide. Monroe remains a pop culture icon,^[2] with the American Film Institute ranking her as the sixth-greatest female screen legend from the Golden Age of Hollywood.^[3]

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Lucia Anna Joyce (1907–1982) 

Lucia Anna Joyce (1907–1982), daughter of author James Joyce and Nora Barnacle, was a talented professional dancer who developed schizophrenia in her twenties. Treated by prominent psychiatrist Carl Jung, she was institutionalized in the mid-1930s and spent the remainder of her life in psychiatric facilities. 

Lucia Joyce was not a footnote to genius — she was one of its most volatile sparks. As a young woman in Paris in the 1920s, she trained relentlessly, pushing her body into new vocabularies of movement inspired by modernism, rhythm, and abstraction. Audiences didn’t always know what they were seeing, but they knew it was electric. Her dancing was angular, emotional, unsettling — the opposite of decorative. She wanted to be taken seriously as an artist, not admired as a curiosity or introduced as “James Joyce’s daughter.”

That was the problem. Lucia’s ambition collided with an era that had no language for brilliant women who refused containment. Her intensity was labeled instability. Her devotion to dance was reframed as obsession. Male artists were allowed to be consumed by their work; Lucia was told it meant she was unwell. When her career stalled — not from lack of talent, but lack of permission — the disappointment hollowed her out. She became isolated, misunderstood, increasingly desperate to be seen on her own terms.

Doctors entered her life not to help her create, but to quiet her. Her artistic drive was pathologized, her emotions diagnosed, her refusal to be small treated as illness. Even Carl Jung, consulted by the family, spoke of her as someone drowning in the same waters her father swam in — except, he said, James Joyce swam, and Lucia sank. It was a devastating metaphor, and it sealed her fate. Rather than ask why the water was so unforgiving to women, they removed her from it entirely.

Lucia was institutionalized for decades. Her letters were curtailed. Her dancing stopped. Her voice disappeared from the record. While her father’s work was analyzed, celebrated, dissected line by line, Lucia’s art was treated as a symptom rather than a vision. She lived long enough to watch modernism canonize itself — without her — and died in 1982, having spent most of her adult life silenced.

What remains is not madness, but loss. Loss of a body in motion. Loss of an artist whose work challenged comfort. Loss of a woman who leapt toward expression in a world determined to diagnose her for it. Lucia Joyce did not fail modernism. Modernism failed her — by refusing to believe that a woman’s fire could be genius without being called a disease.

Early Life & Dance Career

• Born in Trieste, Lucia had a nomadic childhood, living in various European cities as her father’s literary career took off.
• She pursued a successful career as an avant-garde modern dancer, training with major teachers in Paris.
• She gained acclaim for her rhythmic, expressive dancing, and was a crowd favorite at an international dance competition in 1929. 

Mental Health & Breakdown

• Her psychological decline began in her early twenties, exacerbated by the transient nature of her family life and unrequited feelings for Samuel Beckett (her father’s former secretary), who rejected her.
• By the early 1930s, Lucia’s mental health deteriorated as she suffered recurring psychotic breakdowns.
• She was evaluated and treated for schizophrenia by Carl Jung in Switzerland, who notoriously remarked that she and her father were like two people heading to the bottom of a river, differing only in that the father was diving while the daughter was drowning.

Later Years & Tragic End

• Following her diagnosis, she was committed to a clinic in Ivry-sur-Seine near Paris in 1935.
• Despite James Joyce’s efforts to care for her—he never abandoned his belief in her and actively sought her release—the outbreak of World War II interrupted her care.
• In 1951, she was transferred to St Andrew’s Hospital in Northampton, England.
• She spent her final 30 years institutionalized, mostly disconnected from the outside world, until she died following a stroke on December 12, 1982. 

The young Joyce girl, who had a cast in her eye, spent her childhood travelling through Europe until her parents settled in Paris. The author and his daughter were very close and shared a private language that often baffled others and fed into his books. As a young woman, Lucia joined the renowned dancing school run by Raymond Duncan, the brother of the experimental dancer Isadora Duncan. Her performances were well received, but her grip on reality faded when she was rejected by Beckett, who told her that it was her father, not her, that had been the real draw.
When Lucia’s hospital visitor, MacTaggart, later told her that she had once met Beckett in Paris, the patient was quick to ask after him. “She asked me privately if I had noticed if he was with anyone. She meant a woman. She was still in love with him. And I do think, as many do, that Beckett had used her,” said MacTaggart this weekend.

Lucia’s behaviour had become erratic by her mid-20s and her father referred to “her King Lear scenes”. At the novelist’s 50th birthday party in 1932 she threw a chair at her mother and so her brother, the musician Giorgio Joyce, took her to an asylum. Following the death of her father nine years later, Lucia was left inside Nazi-occupied France in an institution at Ivry, near Paris, and was later moved to Northampton at the age of 43, where Beckett visited her once.

A Flower Given to My Daughter
By James Joyce

FRAIL the white rose, and frail are
Her hands that gave,
Whose soul is sere, and paler
Than time’s wan wave.

Rose-frail and fair—yet frailest,
A wonder wild
In gentle eyes thou veilest,
My blue-veined child.

An unprecedented glimpse into the hidden life of Lucia Joyce, adored only daughter of James Joyce, and the lover of Samuel Beckett, has revealed the loneliness of her final years in England.
Born to Joyce and his wife Nora Barnacle in 1907 in Trieste, the flamboyant dancer was to be shut away in mental institutions for most of her adult life. Treated by Carl Jung for supposed schizophrenia, she spent her last 30 years in Northampton’s St Andrew’s hospital for mental diseases, rarely meeting anyone from outside.

“The tragedy was that she had once been so creative and accomplished. She was gentle and kind and it was a very touching visit,” said Helen MacTaggart, a Joyce enthusiast who met her one afternoon in 1977 and who took a rare photograph. “Even her mother hadn’t ever visited her. I don’t think she spoke to many people.”

You can read more about her life and the complexities surrounding her family’s treatment of her records in this Guardian Article. Further historical background on her tragic trajectory is available via Wikipedia’s Lucia Joyce Page.