Joan Crawford

16. Joan Crawford, 'Mommie Dearest'

She's got one of the most terrifying faces in movie history and absolutely loathes wire hangers. If actress Faye Dunaway didn't make you appreciate your mother, she must have been a pretty scary lady.
(1ST Below is the blog tribute photo of joan crawford.

Here is a biography of Joan crawford courtesy of  http://www.joancrawfordbest.com/biolast.htm:

960, the year following husband Al Steele's death, brought more emotional turmoil for Joan: longtime friend and lover Clark Gable died suddenly after filming The Misfits; and Redbook magazine published daughter Christina's griefs in a long article, "The Revolt of Joan Crawford's Daughter." (Christina would expand upon this article at book-length after Joan's death.)

When good film roles didn't come her way at the beginning of the decade, Joan again took matters into her own hands. In late 1961, Joan paid a backstage visit to Bette Davis, then appearing on Broadway. Joan mentioned a book that she'd just read, What Ever Happened to Baby Jane, and suggested that it might be a suitable film vehicle for the two stars. Six months later, the film was in production, with Robert Aldrich directing. Davis played former child star Baby Jane Hudson, with Joan as Jane's once-top-star sister now dependently wheelchair-bound, in a harrowing psychological drama of sisters unable to escape from their life together. Relations between Joan and Davis were coolly cordial on the set, but the film was surprisingly hot upon its release, garnering not only good box office but also several Oscar nominations, including one for Davis as Best Actress.

Unfortunately, though a financial bonanza personally, the success of Baby Jane failed to translate into better roles for Joan. Instead, the film seemed to initiate a cycle ofGrand Guignol that Joan obviously felt compelled to act in for both egotistical and financial reasons. 1963's The Caretakers provided a small, grim part as a rigid nurse in a psychiatric ward. The pleasant schlockmeister William Castle then offered two roles to Joan, in 1964 and '65: In the former, Strait-Jacket, she plays a convicted ax murderess who returns home after 20 years, only to discover a fresh crime-wave overtaking the family farm. In the latter, I Saw What You Did, she's an older woman struggling to hang on to her wicked lover, only to be offed before the film's halfway done because some teenage prank callers have provoked the man's paranoia.

Strait-Jacket, especially, is an interesting example of Joan giving an "A" performance in a decidedly "B" picture: Despite the head-lopping shenanigans going on around her, her mother character is appropriately gray and troubled and sensitive...until she gets a few drinks in her. The scene where the bracelet-jangling, scotch-swilling Lucy Harbin blatantly comes on to her daughter's boyfriend then strikes a match off a playing record is prime Crawford that stands up acting-wise to her most watchable scenes of her '30s and '40s heyday.

There was a 3-year hiatus after I Saw. Then in 1968, Joan appeared in Berserk, a Herman Cohen production filmed in Britain, with Joan as the owner and ringmistress of a circus gone terribly awry, complete with a murderous daughter and the requisite untrustworthy stud. Despite the incredibly cheesy plot (no, Ty Hardin would most likely not be completely enamoured of a sarcastic 60-something woman playing hard-to-get), Berserk (as withStrait-Jacket) is a good example of Joan working her star-quality with effective results: One might mock the film's proceedings, but Joan in action remains fascinating. Unfortunately, Joan's last film Trog (1970), another Cohen picture, offers nothing particularly redeeming: Bad plot and writing, cheesily outfitted troglodyte, bland Joan-as-scientist.

Said Joan later regarding her films following Baby Jane:

They were all terrible, even the few I thought might be good. I made them because I needed the money or because I was bored or both. I hope they have been exhibited and withdrawn and are never heard from again. If I weren't a Christian Scientist, and I saw Trog advertised on a marquee across the street, I think I'd contemplate suicide.

The post-Baby Jane-to-1972 period also saw the beginning of the solidification of Joan's legacy with the publication of several Joan-related books: The 1962 autobiography Portrait of Joan; 1968's The Films of Joan Crawford; and 1971's autobiography/helpful-hints-guide My Way of Life. Another homage was her 1969 Cecil B. DeMille award, bestowed by the Golden Globes for her body of work.

While Joan made only 6 films between 1960 and 1970, her work in the new medium of television was constant and prolific during this same period, keeping her both busy and in the public eye.

Joan had been appearing on TV regularly since 1953, on programs such as Revlon's Mirror Theater, GE Theater, the Colgate Variety Hour, Caesar's Hour, and the Zane Grey Theater, as well as Steve Allen's Tonight Show. In the '60s and early '70s, she continued to be a regular guest on various talk shows, including the debut episode of Johnny Carson's Tonight Show in 1962 as well as numerous stints on Merv Griffin, Mike Douglas, Girl Talk, and David Frost. Other appearances included game shows like What's My Line and I've Got a Secret; Lucille Ball's comedy show (1968); and guest spots on various dramatic programs such as The Man From U.N.C.L.E. (1967),Night Gallery (1969, in the episode "Eyes," which marked the directorial debut of Steven Spielberg), and The Virginian (1970). One of her most infamous appearances was in 1968, when she voluntarily, and rather embarrassingly, filled in for a week for ailing daughter Christina on the daytime soap "The Secret Storm." Joan's last television role was on 1972's mystery program The Sixth Sense, in an episode entitled "Dear Joan, We're Going to Scare You to Death."  From 1953 to 1972, Joan made over 100 television appearances.

The Last Years: 1973 - 1977

Joan's public and private lives began to constrict in 1973. One of her last public appearances was in April of that year at New York City's Town Hall, in a "Legendary Ladies" event hosted by John Springer, where she answered questions from Springer and the audience. That same month, the new head of Pepsi-Cola, with whom she'd had an antagonistic relationship since Al Steele's death, forcibly retired her from the company's board of directors after her 18 years of service for Pepsi. In September of '73, financial considerations forced Joan to take a smaller apartment in the Imperial House, where she'd lived since the mid-60s.

September 23, 1974, was Joan's final public appearance, in an event at NYC's Rainbow Room to honor Rosalind Russell. After seeing unflattering press photos of herself published the next day, she was horrified, saying "If that's how I look, they won't see me again." And the public didn't.

Joan reportedly gave up drinking in December of 1974 and rarely left her apartment after that year, though she wasn't a complete recluse; until the end of 1976 she would regularly visit with neighbors, and friends like artist Russ Elliott, editor Carl Johnes (who later published a warmly honest book about their relationship), publicist Michael Sean O'Shea, and makeup artist Monty Westmore, as well as her Christian Science practitioner Mrs. Markham, her longtime secretary, and her daughter Cathy and family. She also continued to speak to interviewers like Roy Newquist (who later published Conversations with Joan Crawford) and magazines such as Architectural Digest, which did a feature on her apartment in the fall of 1975.

By early 1977, though, even these contacts had mostly tapered off, as did her once-numerous phone calls to friends.

A sign that Joan herself recognized that her life was almost over came on May 8, when she gave away her beloved pet Shih Tzu. Two days later, on the morning of May 10, Joan Crawford died. Only her housekeeper and a longtime female fan were present. The coroner listed the cause of death as "acute coronary occlusion," but Joan had been noticeably wasting away for months and several sources list the actual cause of death as liver cancer. Suicide was also suspected because of the symbolic importance of the date---her and Al Steele's wedding anniversary. She was cremated and her remains interred at New York's Ferncliff Mausoleum, alongside those of Steele.

Legacy: 1977 -  present

The public farewell to Joan began appropriately enough: The New York Times ran a 2000-word front-page obituary and the national nightly news shows also covered her death. On Friday, May 13th, the head of the Motion Picture Authority, Jack Valenti, called for a moment of silence in her honor on all Holllywood lots. That same Friday, a private funeral was held for her in NYC, attended by all four of her children, her niece, and around 75 others. A public New York memorial service was held at the All Souls Unitarian Church, attended by 1500 people, with speakers including Cliff Robertson, Anita Loos, and Geraldine Brooks, and a song by Pearl Bailey. A Beverly Hills memorial service was held June 24. Director George Cukor organized the gathering and read an inspired tribute:

...She was the perfect image of the movie star, and, as such, largely the creation of her own indomitable will. She had, of course, very remarkable material to work with: a quick native intelligence, tremendous animal vitality, a lovely figure and, above all, her face, that extraordinary sculptural construction of lines and planes, finely chiseled like the mask of some classical divinity from fifth-century Greece. It caught the light superbly, so that you could photograph her from any angle, and the face moved beautifully....The nearer the camera, the more tender and yielding she became---her eyes glistening, her lips avid in ecstatic acceptance. The camera saw, I suspect, a side of her that no flesh-and-blood lover ever saw....I thought Joan Crawford would never die. Come to think of it, as long as celluloid holds together and the word Hollywood means anything to anyone, she never will.  

Joan Crawford's legacy seemed assured: A luminously intense screen presence whose looks, talent, and willingness and ability to change with the times and screen trends guaranteed her a permanent place in the celluloid firmament, an eternally-captured brilliant example of not only Hollywood's Golden Age, but also the industry's triumphs and travails over an incredible 45-year span.

But the business of Legacy in Joan's case wasn't meant to be quite so uncomplicated...

On the evening after her New York funeral service was held, Joan's will was read to her family members. Joan left $77,500 each to her twin daughters Cathy and Cindy. Smaller sums went to loyal friends and her secretaries. Greater amounts were left to various local and national charities. And the 10th codicil of her will stated, "It is my intention to make no provision herein for my son Christopher or my daughter Christina for reasons which are well known to them."

Ouch. Daughter Christina took umbrage at the snub, and in the fall of 1978 her vengeful, tell-all memoir Mommie Dearestwas released, in which she excoriated Mommie Joan for wrongs ranging from late-night drunken rampages to forcing daughter dearest to--gasp!--write thank-you notes for gifts! The book was a huge hit, staying on the NY Times bestseller list for 42 weeks and selling millions of copies. The over-the-top movie version, starring Faye Dunaway as an unhinged ax-wielding Joan, was released 3 years later, in the fall of 1981, to immediate howls of both camp glee and protest. (In 1982, the movie was nominated for a then-record 8 "Razzie" awards for downright bad filmmaking and in 1990 received the Razzie for "Worst Picture of the Decade.")

Those howling with glee soon turned Joan into the Ultimate Camp Icon, and drag stars nation- and worldwide appearing as Joan Crawford have been drawing crowds for the past 30 years, most skillfully in performances ranging from lip-synchings of Joan's entire 1973 Town Hall appearance to annual stagings of the spoof "Christmas with the Crawfords" (in which "Joan" alternately torments "Christina" and entertains visiting celebrities like "Judy Garland" and "Ethel Merman"). Christina has stated that her goal was only to draw the public's attention to child abuse, but her appearances at drag shows in various cities over the years alongside wire-hanger-waving, shoulder-padded pseudo-Joans tend to belie her claims of sincerity.

The irony of the Mommie Dearest phenomenon is that it has helped to keep Joan Crawford's name before a younger pop-culture-oriented audience that would perhaps not have otherwise heard of her or gone out of their way to see her in a film. Three decades after her death, everyone has heard of "Joan Crawford," and the path of the curious today often leads directly from Mommie to What Ever Happened to Baby Jane to the fright-fests of the '60s to the campy melodramas of the '50s to the renowned Oscar-winner Mildred to the glam, charming clotheshorse early-MGM years as well as the funnily bitchy "Crystal" in The Women... (And once one has gotten that far, it's perhaps--and hopefully--only a short leap to actually sitting down quietly to pay attention to a serious, intensely talented actress in Rain or Autumn Leaves or Strange Cargo...)

Camp aside, Joan's film legacy has recently been recognized by other members of the film community and the public at large. The mid-1990s began a resurgence in acknowledgment of Joan's contributions to film and to pop culture: the US cable channel A&E aired a Joan-documentary, "Always the Star," in 1996. The same year, Mildred Pierce was placed in the US National Film Registry by the National Film Preservation Board. In 1998, Premiere magazine named Johnny Guitar #49 on its "100 Most Daring Movies Ever Made" list. In 1999, the American Film Institute issued its lists of the 25 greatest male and female screen legends; Joan was #10. Also that year, Playboy named Joan #84 on its "Sex Stars of the Century" list. Since the late '90s, Turner Classic Movies has featured Joan as their "Star of the Month" repeatedly (first airing their "Ultimate Star" bio-doc in 2002).

Whatever the path that leads to the discovery of Joan's body of film work, Cukor was right: Joan Crawford will never die. Obviously, celluloid and the VHS and DVD have in themselves already granted immortality to certain films and their stars. And the media certainly have been fascinated by Joan Crawford for the past 80-odd years. But that's either a cold, "officially historical" kind of permanence (in the former case) or an ephemeral, arbitrary focus of the spotlight (in the latter case). Crawford's own immortality has been achieved, and will continue to be achieved, on an individual and personal level, as it has been since her film debut in 1925---every time a viewer has gotten, or will get, a jolt from Dangerous Diana's exuberant Charleston, or Vienna's eyes blazing as she stands atop that staircase, or Lane Bellamy's death-wrestle with Titus Semple, or Myra Hudson's nerve-wracking wait in the closet, or Flaemmchen's freshness and verve, or Helen Wright's lushly gorgeous angst, or Sadie Thompson's indignant anger, or Crystal Allen's bitchy audacity, or Janie Barlow's naive spunk, or Blanche Hudson's masochistic ordeal...

A single initial jolt of emotional recognition, of connection. Followed later, perhaps, by sheer admiration not only for the woman's artistry, but also for her intense struggle for expression and survival in a world that counted her out on numerous occasions.

A bow to a brave, audacious soul. Joan Crawford lives.

Villain or not she was phenominal enough to have a legacy forever cemented in Cinematic history here is the Youtube Tribute below:

Buffalo Bill

In the movie Silence of  the lambs one of the main Characters Buffalo Bill Is the creepies most sadistic, killer. He is a lonely tailor/designer who has androgynous ambitions.

The back story is that: Jame Gumb was born in California in 1948, and was abandoned at birth by his mother. His mother was an alcoholic prostitute, who had named him James, but upon signing his birth certificate incorrectly, spelled the name Jame, and was left unchanged. He would insist on being called Jame, to rhyme with name. He was abandoned at age two and placed into foster care. Hannibal Lecter believed "Billy was not born a killer, but he was made one over years of systematic abuse". He lived in an unsatisfactory foster home until the age of 10, after which he was adopted by his grandparents, whom became his first victims, when he murdered them impulsively at age 12. He was then sent to Tulare Vocational Rehabilitation, a psychiatric hospital, where he was taught how to be a tailor. After checking out of Tulare, he worked in at least two restaurants and a few clothing stores. It is likely he had killed more people in this period. He also attacked gay men. Soon after he began working in a Baltimore Curio store, where he met and began a relationship with Benjamin Raspail, despite the fact that Gumb wasn't gay. During this time, according to Raspail, Gumb had killed a bag lady. He had been fired from the curio store and stole a suitcase from an employer. While in his room, he opened the case to find hundreds of moths and butterflies and moths. Raspail then ended his relationship with Gumb, in favor of a Norwegian sailor named Klaus. Gumb later murdered Klaus and created an apron from his corpse. He took Klaus' decapitated head and inserted a moth in his throat, then placed it within a jar, which he stashed within a car in an impound warehouse owned by Raspail. Gumb had then, over a period of time following the murder of his ex-lover's boyfriend, began applications for gender reassignment surgery. He applied to schools such as Johns Hopkins. However, all of his applications were declined by, as he was deemed too psychologically disturbed. He roughed up a doctor due to being turned down. In early 1975 he was introduced to Dr Hannibal Lecter through Raspail and had just one session. Lecter himself would end up being arrested for a series of murders himself, Raspail being his ninth victim.
After Gumb had finished consulting with Dr. Lecter, he started up as a tailor in Belvedere, Ohio, where he came to meet an overweight woman, Fredrica Bimmel, whose skin struck his attention. Gumb had then conceived the idea that if he could not by legal means acquire being female, he could make himself into a woman through fashioning together a woman suit. He had then set up to take over a property in the town with a large underbasement area, where he could stash his victims, starting with Bimmel. Fortunately, in stalking Bimmel, Gumb came to discover that Bimmel's employer, Mrs. Lippman, who was a local, propieted a house with an old basement that contained many rooms and a large dry well. Sometime during this period he acquired a poodle who he named Precious. Mrs. Lippman died on a holiday in Florida whilst with Gumb. Gumb inherited everything from Mrs Lippman. Using the alias John Grant he took over the house. He then abducted Bimmel and kept her prisoner in the well. Despite this, they had a strong friendship, even sending notes to each other. He eventually killed her and for the first time, removed her skin, which led to the "Buffalo Bill" murders.He then proceeded to abduct four other women and, like Bimmel, kept them entrapped in the large dry well in the basement of Mrs. Lippman's home, making them clean their skin with lotion before he would eventually come to kill them. He hanged the first two victims, then decided to shoot any other victims. He then skinned them and added them to his woman suit and disposed of their bodies in lakes. As Bimmel was weighed down, she was actually found third. During this series of killings, Gumb received the nickname "Buffalo Bill", as officers at Kansas City Homicide made a tasteless joke that "this one likes to skin his humps".A sixth woman was found, with her scalp and two diamond shape pieces of skin form her back removed. Gumb then came to abduct Senator Ruth Martin's daughter, Catherine. He had posed as a man with a broken arm who needed help moving a sofa into the back of his van outside her apartment building. Catherine had came to assist him. She was backing into the van with the sofa, when she was asked wether she was a size 14 and was rendered unconsious by Gumb. She was brought to Belvedere, to the Lippman house, where she was imprisoned like the previous victims in the basement dry well. Her abduction by Buffalo Bill was then made national, and her mother made a national televised plea to him to return her daughter and repeatedly used her name in sentences, so as to ensure he would not deem her a mere object, like the other victims, but, rather, see her as a human being. While in captivity, Martin managed to lure Precious into the well using a bucket and scraps of food. When Gumb learnt of this, this caused him great distress.FBI Agent Jack Crawford assigned rookie Agent Clarice Starling to speak to Dr Hannibal Lecter, an insane cannibalistic serial killer, in the hopes he may assist in catching Buffalo Bill (at this point had killed at least five girls). Starling spoke with Lecter and entered into a quid pro quo of information for information, would relinquish what she needed to catch him before Catherine loses her life. Starling revealed the memory of her father's murder in exchange for clues that would lead to him. Starling discovered Klaus' decapitated head in the vehicle stationed in the storage shed, belonging to Benjamin Raspail, whom Lecter had killed. Starling came to determine that Fredrica Bimmel was Bill's first victim and was weighed, so she would be found as a later victim, so the authorities and FBI could not deduce he knew her personally. In Bimmel's mouth, a Death's-Head Hawkmoth was uncovered, which was one among the many moths bred by Gumb. Clarice then eventually came to Belvedere, Ohio, and upon coming to the Bimmel house and speaking to her father, learned about her employer Mrs. Lippman. During this time, Lecter escaped from a temporary prison cell while in Memphis, killing five people.Clarice then came to learn of a local tailor, Jame Gumb, whose cutting incisions matched perfectly to the skin removal incisions on the Buffalo Bill victims. She came to the Lippman residence and discovered Gumb to be living there and after seeing a Death's-Head Hawkmoth fly out of the kitchen, she realized he was Buffalo Bill and withdrew her weapon. Gumb fled down into the basement area and was pursued by Starling, who found an alive Catherine. Starling came to be locked in the room with the bathtub that contained the remains of Mrs. Lippman, and the lights were then turned off by Gumb, who crept up on Starling by wearing his night vision binoculars and prepared to shoot her in the back of the head, but was killed as Starling heard his gun cock, and returned fire by spinning around, shooting Gumb down, and busting down a wood-barred window, releasing light into the room. The local authorities and misled FBI Agents, led by Crawford, who had travelled to an empty residence in Illinois,  came to the Lippman house, and Catherine was rescued from the well. Starling was awarded with honors for the rescue of Catherine Martin and the killing of Jame Gumb. After Gumb's death, the National Tattler covered his history and renamed him "Mr Hide". Gumb's dog Precious was adopted by Senator Martin. Gumb, over his life had killed at least 11 people. 

if that is not creepy enough checkout this scene in Silence of the Lambs:

Gordon Gekko

Capitalism Takes on a new level with the film Wall Street's Gordon Gekko played by Micheal Douglas. Gordon Gekko is the On-Screen donald trump level- cut throat business man definitely worthy in the hall of fame of Villains

Nurse Ratched

Nurse Ratched, 'One Flew Over the Cuckoo's Nest'

Open wide and say, "Aaaaaaaaaaaah!" Actress Louise Fletcher became one of the most memorable female villains in movie history for her portrayal of the cold, tyrannical head nurse at an Oregon mental facility.

Aileen Wournos

Born on February 29, 1956, in Rochester, Michigan, Aileen Wuornos was sexually abused and thrown out of her home as a teen. Having been involved in previous incidents with the law, she made a living as a sex worker on Florida's highways, and in 1989 she killed a man who had picked her up. She went on to kill at least five other men and was eventually caught, convicted and placed on death row. Though her sanity was questioned, Wuornos was executed by lethal injection in 2002. In addition to documentaries, books and an opera, her story was depicted in the 2003 film MonsterAileen Wuornos was born on February 29, 1956 in Rochester, Michigan, growing up in the nearby Troy area to the south. The young Wuornos experienced horrifying tumult during her childhood: Her father killed himself while serving prison time for child molestation, while her mother abandoned Aileen and older brother Keith, leaving them to be raised by their grandparents. Yet Wuornos’s grandmother was alleged to be an alcoholic and her grandfather a terrifying, violent force.
Wuornos would later state that she was sexually abused by her grandfather and had sexual relations with her brother. She became pregnant by her early teens, and the infant was given up for adoption. During her adolescence, Wuornos was also forced out of her home and lived in the woods.
Having previously been a ward of the state, Wuornos subsisted on a vagabond existence as an adult, hitchhiking and engaging in sex work to survive. She was arrested during the mid-1970s for charges related to assault and disorderly conduct and eventually settled in Florida, where she met wealthy yachtsman Lewis Fell. The two were married in 1976, but Fell annulled the union shortly thereafter, upon Wuornos being arrested in another altercation. A decade later, having been involved in numerous additional crimes, Wuornos met 24-year-old Tyria Moore in Daytona, Florida, and the two embarked on a romantic relationship.
It would later be revealed that from late 1989 into the fall of 1990, Wuornos had murdered at least six men along Florida highways. In mid-December 1989, the body of Richard Mallory was found in a junkyard, with five more men’s bodies to be discovered over subsequent months.
Authorities were eventually able to track down Wuornos (who had used various aliases) and Moore from fingerprints and palm prints left in the crashed vehicle of another missing man, Peter Siems. Wuornos was arrested in a bar in Port Orange, Florida, while police tracked down Moore in Pennsylvania. To avoid prosecution, Moore made a deal, and in mid-January 1991 she elicited a phone confession from Wuornos, who took full and sole responsibility for the murder.
A media frenzy ensued over the case, due in part to the lurid nature of the crimes. During the trial, Wuornos asserted that she had been raped and assaulted by Mallory and had killed him in self-defense. (Though not revealed in court, Mallory had previously served a decade-long prison sentence for sexual assault.) She stated that her killing of the five other men had been in self-defense as well, though she would later retract these statements.
On January 27, 1992, a jury found Wuornos guilty of first-degree murder for the Mallory case and she received the death penalty. Over the ensuing months, Wuornos plead guilty to the murders of the five other men whose murders she was charged with and received a death sentence for each plea. Outside of court, she later admitted to the killing of Siems, whose body was never recovered.
Spending a decade on death row, Wuornos eventually opted to fire her appeals lawyers, who were working for a stay of execution. But a court-appointed attorney was concerned about comments made by Wuornos that suggested she was profoundly disconnected from reality. In 2002, Florida governor Jeb Bush lifted a temporary stay of execution after three psychiatrists deemed her mentally competent to understand the death penalty and the reasons for its implementation.
Aileen Wuornos was executed by lethal injection on the morning of October 9, 2002. Her cremated remains were buried in her town of b
Wuornos’s story has been closely profiled in film. British documentarian Nick Broomfield created two works—Aileen Wuornos: The Selling of a Serial Killer(1993) and Aileen: Life and Death of a Serial Killer (2003), with the latter co-directed by Joan Churchill

In Honor of Aileen's touching story the blog will now show Aileen's lifestory (as well as a special link to the movie monster.)

Lifestory:

Aileen's Girlfriend Confesses to Aileens crimes:

Aileen Confesses

Aileen After her capture:

Aileen Before Execution:

Tommy Devito

As a personal fan of the Scorsese classic "Goodfellas"  My favourite character was Tommy Devito the short loud mouyth, action-junkie who clearly was meanest because of years of being underestimated because of his stature became the movie's most chaotic, unstable, captivating character.

TOmmy Devito was famous doing robberies for mob bosses until he graduated to doing hits for Made Men, but as Tommy grew he started killing anybody who just put him in a bad mood, including the made men, (specifically Billy Batts).

Dolph Lungrden

"I must break you." And break he did. As Russian juggernaut boxer Ivan Drago, actor Dolph Lundgren shocked movie audiences when his steely character killed Apollo Creed and uttered, without remorse, "If he dies, he dies." in The Rocky VI classic. 

Biff Tannen

"Biff Tannen" Is a fictional villain in the movie Back to the future. He Plays the role where he bullies michael J. Fox.

heres a special clip of Biff Tannen from the classic Back To the future

William Poole - The Real Bill The Butcher(Gangs of New York)

William Poole (July 24, 1821 – March 8, 1855), also known as Bill the Butcher, was the leader of the New York City gang Bowery Boys, a bare-knuckle boxer, and a leader of the Know Nothing political movementPoole was born in Sussex County, New Jersey to parents of English descent.^[1] In 1832, his family moved to New York City to open a butcher shop in Washington Market, Manhattan. William Poole trained in his father's trade and eventually took over the family store. In the 1840s, he worked with the Howard (Red Rover) Volunteer Fire Engine Company #34, Hudson & Christopher Streets and started the Washington Street gang.
A Brutal Outrage in Broadway. We learn that at an early hour yesterday morning, two noted pugilists entered Florence's Hotel, corner of Broadway and Howard street, and without any provocation seized the bar-keeper and beat his face to a jelly. It appears that Thomas Hyer, William Poole, and several others entered the above hotel, and while one of the party held Charles Owens (the bar-keeper) by the hair of his head, another of the gang beat him in the face to such an extent that his left eye was completely ruined and the flesh of his cheek mangled in the most shocking manner. After thus accomplishing the heartless act, all of them made an effort to find Mr. John Florence, the proprietor of the hotel, with a view of serving him in the same manner, but not succeeding in their latter design, they found the hat of Mr. Florence and wantonly cut it into strips, and trampled it under their feet. The desperadoes then left the house, and in the meantime Mr. Owens was placed under medical attendance, and in the course of a short time he proceeded to the Jefferson Market Police, in company with Mr. Florence, where they made their affidavits respecting the inhuman outrage, upon which Justice Blakeley issued his warrants for Hyer, Poole, and such of the others who were concerned in the affair, and the same were placed in the hands of officer Baldwin for service. Since the above was written we have been reliably informed that the affray originated from the fact of the barkeeper having refused them drinks, after they had been furnished with them twice in succession.

Poole's archenemy, John Morrissey, was an Irish immigrant and enforcer for Tammany Hall. Morrissey was also a popular boxer and challenged Poole to a match. Though the two men were of differing ethnic backgrounds and political parties, the initial grounds for their dispute may have arisen from an earlier bet by Poole on a boxing match at Boston Corners on October 12, 1853, in which Poole had placed his bet on Morrissey's opponent, "Yankee Sullivan".Results of the boxing match were disputed, and Poole was against Morrissey being paid. In the boxing match Morrissey was knocked out but, instead of using a standard ten count, the Morrissey backers requested judgment by a call to the ring. Morrissey was up again by then. Morrissey's opponent, having knocked out Morrissey, had left the vicinity of the ring thinking he had won. Poole and Morrissey squared off in the ring to settle their dispute on July 26, 1854, at Amos Dock, New York. The New York Daily Times reported on the fight, and Morrissey's condition afterwards:He presented a shocking spectacle, and scarcely could any of his friends recognize him. His eyes were closed and one of them was found to be gouged from one end of the socket, which injury will probably impair his sight for life. There were large bunches on all parts of his head. His face above and below the eyes is blackened by violent blows given on the bridge of his nose. There is a hole in his cheek, and his lips are chewed up in a frightful manner. He also sustained fearful injuries about his breast, arms, and back, where Poole kicked him with heavy cowhide boots after he helloed enough. So severe are Morrissey's injuries, that it is very doubtful whether he walks in the street for the next six monthsMorrissey plotted revenge and on February 25, 1855, Lew Baker, a friend of Morrissey, shot Poole at Stanwix Hall, a bar on Broadway near Prince, at that time a center of the city's nightlife. The New York Daily Times reported on February 26, 1855 the following:Terrible Shooting Affray in Broadway – Bill Poole Fatally Wounded – The Morrissey and Poole Feud – Renewal of Hostilities – Several Persons Severely Wounded. Broadway, in the vicinity of Prince and Houston Streets, was the scene of an exciting shooting affair about 1 o'clock yesterday morning, which is but a repetition of a similar occurrence that transpired a few weeks ago under Wallack's Theatre between Tom Hyer, Lewis Baker, Jim Turner and several other noted pugilists...Poole died on March 8, 1855 from the gunshot wound. He died in his home on Christopher Street, leaving a wife and a son named Charles Poole. His last words were, "Good-bye boys; I die a true American." He was buried on March 11, 1855, in Brooklyn's Green-Wood Cemetery in an unmarked grave. A tombstone was added in 2004; the grave is number 48 and 49, F/G 6(v).Louis Baker took the brig Isabella Jewett which was headed for the Canary Islands. George Law, Sr., furnished the clipper ship Grapeshot to pursue Baker. It intercepted the Jewett on April 17, 1855. Baker was captured and brought back. He was tried three times for the murder but all three trials ended in a hung jury. Morrissey went on to open up several bars and accumulated $1.5 million, but was never accepted by American aristocracy. He later served as a state senator and died of pneumonia in 1878.

Ted Bundy

Todays Off Screen Villain is the serial killer Ted Bundy

Ted Bundy was never loved by his mother.  As a matter of fact when he was born he was her secret shame. His religious family was embarrassed by her mother’s scandalous deeds. She gave birth to him secretly. So embarrassed of how he came to be Ted’s grandparents raised him as an adopted child and was made to believe his mother was his sister

From the time he was young he loved knives, and his grew he became distant from his friends. He like to peer into people’s window at night and thought nothing of it when he stole things from other people.

While in College Ted Bundy dated a young, pretty rich woman from California. She was everything Ted wanted in a woman. And when they broke up it devastated Ted. Soo much so when he graduated and became somewhat of a success he began his path of destruction.

Killing nearly over %0 women. Look at his lifestory and last interview below

Davy Jones

In The first edition of this blog of villains both on and off screen. It is only right to start with the antagonist of The Pirates of The Caribbean series.

According to POC trivia Davy Jones was once one of the greatest sailors of the seven seas. He fell in love with the Goddess of the Sea Calypso. He made somewhat of a pact with the goddess. He literally gave his heart to the Sea in return he could sail the seas for eternity ferrying all the souls that where lost at sea to the other side. And part of the deal was that every 10 years he could spend one day on shore.

Calypso gave Davy Jones the Flying Dutchman to accomplish this task. Her reason for this is unknown. She swore that after ten years she would meet him and they would spend one day together before he returned to his duties. He faithfully kept to his charge for ten years, and after his first decade of duty, prepared to see his love again. Calypso however, after those ten years, failed to show up because of her capricious nature, which had drawn Jones to her in the first place.^[12] Thinking Calypso had betrayed him, an enraged and heartbroken Davy Jones turned the Pirate Brethren against her, saying that if she were removed from the world, they would be able to claim the seas for themselves. They assembled in the First Brethren Court and Jones taught them how to imprison her into her human form (Tia Dalma); the Court agreed with him to imprison her forever.^[14]

Soon, Jones' grief at Calypso's betrayal and guilt at what he had done became so great that he curved out his heart and placed it in the "Dead Man's Chest". Containing a powerful lock, the Chest was sealed and placed within a larger wooden chest along with Jones' numerous love letters to Calypso and all other items having to do with her, except his matching musical locket. This was then buried on Isla Cruces, a plague island. Jones then departed, keeping his unique double-stemmed key to the Chest with him at all times. Since then, Jones has abandoned his duty and sailed the seas, making deals and doing as he pleased. Though immortal, his disregard for his duty brought punishment, mutating him into a parody of humanity, and with him, his ship, and whomsoever served on it. His crew is lured into service by the notion that they can forestall their "final judgment" for 100 years by serving aboard the Dutchman, however, they don't know that they will slowly mutate into creatures like Jones until they are essentially barnacles on the ship's hull, ultimately useless. The lore of the "feared Flying Dutchman" begins as Jones' eerie ship sailed about destroying ships to recruit for crew. With his supernatural power, he becomes ruler of the oceans' realm and comes to command the Kraken, a feared mythological sea monster.

Davy Jones' character was given a large arsenal of supernatural abilities at his disposal. Though normally relying on the strength of his crew, ship, and the Kraken, Jones has proven quite powerful on his own. He is seen in At World's End as a brilliantly skilled swordsman and was able to break Jack Sparrow's sword with his crab-claw hand as well as defeat everybody that opposed him. Jones is capable of teleportation on board the Flying Dutchman and the Black Pearl and can pass through solid objects, although he is never seen going through people. This ability to teleport was thought to be a plothole, as he is not seen to teleport to different ships during battle. When asked, the producers of Dead Man's Chest simply said that they noticed the plot hole as well, but chose to say that his teleportation skills only work at night-time.

Davy Jones Locker

Meaning

The bottom of the sea; the resting place of drowned mariners.

Origin

Davy Jones is the evil spirit of the sea. There are various possible attempts to explain the name by associating it with someone of a similar name:

Jones may be a corruption of name of the biblical seaman Jonah. Jonah denoted bad luck on to seamen.

Davy Jones was a 16th century publican who imprisoned drunken sailors in a locker and press-ganged them to serve on ships.

The name comes from the patron saint of sailors - St. David.

None of these is supported by any evidence - they are little more than guesses.

The first source of the use of the name comes from Tobias Smollett's The Adventures of Peregrine Pickle 1751:

"'By the Lord! Jack, you may say what you wool; but I'll be damned if it was not Davy Jones himself. I know him by his saucer eyes, his three rows of teeth, his horns and tail, and the blue smoke that came out of his nostrils. What does the blackguard hell's baby want with me? I'm sure I never committed murder, except in the way of my profession, nor wronged any man whatsomever since I first went to sea.' This same Davy Jones, according to the mythology of sailors, is the fiend that presides over all the evil spirits of the deep, and is often seen in various shapes, perching among the rigging on the eve of hurricanes, shipwrecks, and other disasters, to which a seafaring life is exposed; warning the devoted wretch of death and woe."