A work in constant progress (and occasional regress).
Alias:
Hedwig Eva Maria Kiesler
Hedy Kiesler
Хеди Кислер
Хеди Ламарр
هدی لامار
海蒂·拉玛
Birthplace:
Vienna, Austria
Born:
November 9, 1914
Died:
January 19, 2000
Hedy Lamarr (born Hedwig Eva Maria Kiesler; November 9, 1914 – January 19, 2000) was an Austrian-born actress and technology inventor. She was a film star during Hollywood's Golden Age. After a brief early film career in Czechoslovakia, including the controversial Ecstasy (1933), she fled from her first husband, a wealthy Austrian ammunition manufacturer, and secretly moved to Paris. Traveling to London, she met Metro-Goldwyn-Mayer studio head Louis B. Mayer, who offered her a movie contract in Hollywood. She became a film star with her performance in Algiers (1938). Her MGM films include Lady of the Tropics (1939), Boom Town (1940), H.M. Pulham, Esq. (1941), and White Cargo (1942). Her greatest success was as Delilah in Cecil B. DeMille's Bible-inspired Samson and Delilah (1949). She also acted on television before the release of her final film, The Female Animal (1958). She was honored with a star on the Hollywood Walk of Fame in 1960. At the beginning of World War II, she and avant-garde composer George Antheil developed a radio guidance system for Allied torpedoes that used spread spectrum and frequency hopping technology to defeat the threat of jamming by the Axis powers. This system later became the basis for what is now known as Bluetooth. Description above from the Wikipedia article Hedy Lamarr, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Executive Producer:
1946 The Strange Woman
Producer:
1946 The Strange Woman
1954 Loves of Three Queens
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.