Age, Biography and Wiki

Jean Hersholt (Jean Pierre Carl Buron) was born on 12 July, 1886 in Copenhagen, Denmark, is an Actor, Director, Soundtrack. Discover Jean Hersholt's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of Jean Hersholt networth?

Popular As Jean Pierre Carl Buron
Occupation actor,director,soundtrack
Age 70 years old
Zodiac Sign Cancer
Born 12 July 1886
Birthday 12 July
Birthplace Copenhagen, Denmark
Date of death 2 June, 1956
Died Place Hollywood, Los Angeles, California, USA
Nationality Denmark

We recommend you to check the complete list of Famous People born on 12 July. He is a member of famous Actor with the age 70 years old group.

Jean Hersholt Height, Weight & Measurements

At 70 years old, Jean Hersholt height is 5' 11" (1.8 m) .

Physical Status
Height 5' 11" (1.8 m)
Weight Not Available
Body Measurements Not Available
Eye Color Not Available
Hair Color Not Available

Who Is Jean Hersholt's Wife?

His wife is Via Hersholt (2 April 1914 - 2 June 1956) ( his death) ( 1 child)

Family
Parents Not Available
Wife Via Hersholt (2 April 1914 - 2 June 1956) ( his death) ( 1 child)
Sibling Not Available
Children Not Available

Jean Hersholt Net Worth

His net worth has been growing significantly in 2022-2023. So, how much is Jean Hersholt worth at the age of 70 years old? Jean Hersholt’s income source is mostly from being a successful Actor. He is from Denmark. We have estimated Jean Hersholt's net worth , money, salary, income, and assets.

Net Worth in 2023 $1 Million - $5 Million
Salary in 2023 Under Review
Net Worth in 2022 Pending
Salary in 2022 Under Review
House Not Available
Cars Not Available
Source of Income Actor

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Timeline

1948

Hersholt would also write several articles about Andersen and edit The Andersen-Scudder-Letters (1948). Among other literary pursuits Hersholt also co-wrote a novel based on his Dr. Christian character. It was in Hersholt's generous nature to give back something in gratitude for the acting career afforded him in Hollywood. His payment was rich indeed: the Motion Picture Relief Fund, the retirement home and hospital inspired by it and generated from it (see Trivia below), and the great charitable work that Hersholt would perform were paid back with two Academy Awards, the second after his tenure as president of the Academy. These special honors would be the seed of the Jean Hersholt Humanitarian Award (see Trivia below).

1945

President of the Academy of Motion Picture Arts and Sciences 1945-1949.

1939

Christian films (1939-41). These latter and a few other films would mark the end of Hersholt's film career, but he was so very busy otherwise. His familiarity with Andersen was a scholarly avocation and labor of love, furthered by enthusiastic collecting of a library of important Andersen editions and related bibliography (which would later go to the Library of Congress). His English translation (see Trivia below) of the Andersen corpus of fairy tales (including his addition of several other Andersen stories from the author's private papers) remains perhaps the most comprehensive and best effort-even more so for Hersholt personal interpretation of Andersen.

1938

Hersholt brought the right ingredients to the part of Luke and two years later a sequel followed, Five of a Kind (1938). Hersholt thought the character good medicine all round and was enthusiastic about a series of movies, but Dafoe himself blocked this idea.

1937

Nevertheless, in 1937 Hersholt had already germinated a new radio series to continue portraying a dedicated and kindly small town doctor. For a character name Hersholt turned to his most beloved author, his countryman, literary light Hans Christian Andersen, for a name-Dr. Christian. It was a hit and, and he convinced RKO Radio Pictures to bankroll a series of six Dr.

1936

He was the father of Sonja Henie in that charismatic champion ice skater's first Hollywood film One in a Million (1936), and he is perhaps best remembered as the embittered but deeply caring grandfather of Shirley Temple in the beloved Heidi (1937). But it was another role as a doctor that would provide a continuing vehicle for Hersholt and something of a fateful direction for the actor. The mid-30s were abuzz with the births of the Dionne Quintuplets in Canada. Hollywood jumped on it with usual alacrity, highlighting the story and the officiating obstetrician, Dr. Dafoe, who was translated into Dr.

John Luke, in The Country Doctor (1936).

1932

The variety ran the gamut from a sturdy supporting part in Grand Hotel (1932), to supporting Boris Karloff and a pretty hot Myrna Loy in The Mask of Fu Manchu (1932), and doing the same in Dinner at Eight (1933).

1930

His first all mono sound film was The Climax (1930) and despite a Germanic accent, he had a pleasant, mellow voice and a camera friendly presence that ensured him continued success.

Busy with nine movies in 1930, he also moved into people's living rooms on radio as well during that year. Of course, for some time Hersholt was a mature actor-simply meaning he had many secondary roles as doctors and professors and nobles of many sorts and increasingly he appeared as benign fatherly types. Father roles of the 20s continued into the 30s - augmented with grandfather roles as well.

1924

And certainly his signature silent role was the lead character of Marcus Schouler in the Erich von Stroheim great film Greed (1924), based on the novel McTeague. Stroheim, who spent far more time in front of the camera as an actor, was already well know as a task master and perfectionist director. He went through 42 reels of film for the picture - a numbing nine hours of screen time (shown only once at that length in a private studio screening). He cut the film to five hours, but it was further whittled to a bit over two for release, causing Stroheim to quip bitterly of the editor, "The only thing he had on his mind was his hat!" The powerful film was still there, but the massive editing resulted in whole roles disappearing, not to mention some telltale continuity. Stroheim's need for realism resulted in the climax of the movie to be shot in Death Valley. Still hot in the fall time, Hersholt endured like a veteran but required a hospital stay after sweating away 27 pounds.

1923

He worked for Samuel Goldwyn for about a year (1923-1924), for Paramount from 1927 through 1929, and several other studios during the period. By the end of the silent era, including those early primitive part mono features with small bits of audio music, sound effects, or dialog, Hersholt was a tried veteran of 75 films.

1920

By the 1920s his roles were substantial feature pieces, but most of these were as villains - in fact, a concoction of really vile characters. His theater experience serving him well, he played them so well that he much sought after by directors.

Several of his 1920s films were landmarks of the silent era, an early one being The Four Horsemen of the Apocalypse (1921) which helped propel Rudolf Valentino into the stellar heights. Hersholt became popular and well paid.

Fortunately into the later 1920s Hersholt's roles expanded into a more realistic balance of characters-more virtuous roles - but still some shady fellows and especially the unsuspected, and thus surprising, guilty party in the ever popular murder mysteries.

1915

He started as a movie extra then progressed into small feature player roles from 1915 through 1917. For that latter year he had no less than 17 bit parts.

1914

He moved on to Hollywood in 1914 where the future of silent movies had taken the lead.

1913

Hersholt emigrated from Denmark to the US while still a young man in 1913. Like many another European he came to America to seek further opportunities. Unlike many other European actors who appeared on Broadway in their early American careers, Hersholt never trod The Great White Way.

1906

If ever there was a Great Dane in Hollywood it was Jean Hersholt - and one of its great hearts as well. He was from a well-known Danish stage and entertainment family that had toured throughout Europe performing with young Jean as an essential cast member. He graduated from the Copenhagen Art School and continued expanding his stage experience and evidently decided early that he wanted to work in films. He did just two very early (1906) silent films in Germany.