![]() In 1957, Mineo made a brief foray into pop music by recording a handful of songs and an album. He was sometimes referred to as the "Switchblade Kid", a nickname he earned from his role as a criminal in the movie Crime in the Streets (1956). In the Disney adventure Tonka (1958), for instance, Mineo starred as a young Sioux named White Bull who traps and domesticates a clear-eyed, spirited wild horse named Tonka that becomes the famous Comanche, the lone survivor of Custer's Last Stand.īy the late 1950s, Mineo was a major celebrity. Many of his subsequent roles were variations of his role in Rebel Without a Cause, and he was typecast as a troubled teen. In Giant (1956), Mineo played Angel Obregon II, a Mexican boy killed in World War II. Mineo's biographer Paul Jeffers recounted that Mineo received thousands of letters from young female fans, was mobbed by them at public appearances, and further wrote: "He dated the most beautiful women in Hollywood and New York City." At age 17, he became the fifth-youngest nominee in the category. Mineo's performance resulted in an Academy Award nomination for Best Supporting Actor. ![]() Mineo's breakthrough as an actor came in Rebel Without a Cause (1955), in which he played John "Plato" Crawford, a sensitive teenager smitten with main character Jim Stark (played by James Dean). Mineo (left) with Sue George and John Saxon in a publicity still photo for Rock, Pretty Baby (1956). Mineo also successfully auditioned for a part in The Private War of Major Benson (1955), as a cadet colonel opposite Charlton Heston. Mineo made several television appearances before making his screen debut in the Joseph Pevney film Six Bridges to Cross (1955). Elaine Malbin performed the title role, and Peter Herman Adler conducted Kirk Browning's production.Īs a teenager, Mineo appeared on ABC's musical quiz program Jukebox Jury. On May 8, 1954, Mineo portrayed the Page (lip-synching to the voice of mezzo-soprano Carol Jones) in the NBC Opera Theatre's production of Richard Strauss's Salome (in English translation), set to Oscar Wilde's play. Brynner took the opportunity to help Mineo better himself as an actor. He also played the young prince opposite Yul Brynner in the stage musical The King and I. He had his first stage appearance in Tennessee Williams's play The Rose Tattoo (1951). Mineo's mother enrolled him in dancing and acting school at an early age. He attended the Quintano School for Young Professionals and was one of the few Italian-American actors of his era to keep his last name, saying he was proud of his heritage and identity. Mineo's sister Sarina and brothers Michael and Victor were also actors. He was of Sicilian descent his father was born in Italy and his mother, of Italian origin, was born in the United States. Mineo was born in The Bronx, New York City, the son of coffin makers Josephine (née Alvisi) and Salvatore Mineo Sr. Mineo also starred in films such as Crime in the Streets, Giant (both 1956), Exodus (1960), for which he won a Golden Globe and received a second Academy Award nomination, The Longest Day (1962), John Ford’s final western Cheyenne Autumn, and Escape from the Planet of the Apes (1971). He was best known for his role as John "Plato" Crawford in the drama film Rebel Without a Cause (1955), which earned him a nomination for the Academy Award for Best Supporting Actor at age 17, making him the fifth-youngest nominee in the category. (Janu– February 12, 1976) was an American actor. 2005's "Land of the Dead" didn't just lampoon wealth disparity, it also offered audiences more than a decade's worth of dramatic catharsis by allowing John Leguizamo and Dennis Hopper to work out their shared professional aggression following 1992's "Super Mario Bros.Salvatore Mineo Jr. His 1978 follow-up oozed disdain for mindless American materialism. ![]() ![]() "Night of the Living Dead" had painfully apt parallels to the Civil Rights movement. "I've always tried to put a little something in there." It's difficult to miss, looking back on his original run of "(Blank) of the Dead" pictures. It's not gore, it's not just horror," he continued. Speaking to IndieWire just a few days before his death in July of 2017, the horror pioneer stated that his shambling corpses had "always been political. George Romero, the father of the undead genre as we now know it, certainly thought that they might be. Here's a hot take that literally no one on the internet has ever discussed before: zombies might be a metaphor for something.
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