José Ferrer (1912-1992) became the first Puerto Rican actor to win the Best Actor Academy Award for the 1950 film version of Cyrano de Bergerac.His portrayal of the lovelorn poet/swordsman had already won him the Tony in 1947, and he would be identified with Cyrano for the rest of his life. Ferrer was a theatrical dynamo; in 1952 he directed Stalag 17, The Fourposter, and The Shrike (which he starred in) on Broadway, while New York City movie marquees were heralding his appearance in Anything Can Happen.At his apex in the 1950s, Ferrer capitalized on his Oscar with such triumphs as Moulin Rouge and The Caine Mutiny. He soon became a force behind the camera, acting and directing such critically well-received films as The Shrike and The Great Man. Yet in the late 1950s, such ambitious theatrical productions as Edwin Booth and Juno were critical and commercial flops and film studios lost their patience. By the mid-1960s, Ferrer took whatever roles he could get.He led a turbulent personal life. His first marriage to actress Uta Hagen ended in divorce and scandal. His personal and professional relationship with Paul Robeson landed Ferrer before the House Un-American Activities Committee. Ferrer's marriage to actress/dancer Phyllis Hill was marred by his infidelity, while initial wedded bliss with singer Rosemary Clooney soon eroded. In spite of everything, Ferrer endured and worked practically right up to his death. Proud of his Puerto Rican heritage, he donated his Oscar to the University of Puerto Rico and championed the work of Latino writers. He continuously evolved, stretching his talents. Ferrer's life is an American success story and a testament to reinvention and resilience.

José Ferrer (1912-1992) became the first Puerto Rican actor to win the Best Actor Academy Award for the 1950 film version of Cyrano de Bergerac.His portrayal of the lovelorn poet/swordsman had already won him the Tony in 1947, and he would be identified with Cyrano for the rest of his life. Ferrer was a theatrical dynamo; in 1952 he directed Stalag 17, The Fourposter, and The Shrike (which he starred in) on Broadway, while New York City movie marquees were heralding his appearance in Anything Can Happen.At his apex in the 1950s, Ferrer capitalized on his Oscar with such triumphs as Moulin Rouge and The Caine Mutiny. He soon became a force behind the camera, acting and directing such critically well-received films as The Shrike and The Great Man. Yet in the late 1950s, such ambitious theatrical productions as Edwin Booth and Juno were critical and commercial flops and film studios lost their patience. By the mid-1960s, Ferrer took whatever roles he could get.He led a turbulent personal life. His first marriage to actress Uta Hagen ended in divorce and scandal. His personal and professional relationship with Paul Robeson landed Ferrer before the House Un-American Activities Committee. Ferrer's marriage to actress/dancer Phyllis Hill was marred by his infidelity, while initial wedded bliss with singer Rosemary Clooney soon eroded. In spite of everything, Ferrer endured and worked practically right up to his death. Proud of his Puerto Rican heritage, he donated his Oscar to the University of Puerto Rico and championed the work of Latino writers. He continuously evolved, stretching his talents. Ferrer's life is an American success story and a testament to reinvention and resilience.

José Ferrer (1912-1992) became the first Puerto Rican actor to win the Best Actor Academy Award for the 1950 film version of Cyrano de Bergerac.His portrayal of the lovelorn poet/swordsman had already won him the Tony in 1947, and he would be identified with Cyrano for the rest of his life. Ferrer was a theatrical dynamo; in 1952 he directed Stalag 17, The Fourposter, and The Shrike (which he starred in) on Broadway, while New York City movie marquees were heralding his appearance in Anything Can Happen.At his apex in the 1950s, Ferrer capitalized on his Oscar with such triumphs as Moulin Rouge and The Caine Mutiny. He soon became a force behind the camera, acting and directing such critically well-received films as The Shrike and The Great Man. Yet in the late 1950s, such ambitious theatrical productions as Edwin Booth and Juno were critical and commercial flops and film studios lost their patience. By the mid-1960s, Ferrer took whatever roles he could get.He led a turbulent personal life. His first marriage to actress Uta Hagen ended in divorce and scandal. His personal and professional relationship with Paul Robeson landed Ferrer before the House Un-American Activities Committee. Ferrer's marriage to actress/dancer Phyllis Hill was marred by his infidelity, while initial wedded bliss with singer Rosemary Clooney soon eroded. In spite of everything, Ferrer endured and worked practically right up to his death. Proud of his Puerto Rican heritage, he donated his Oscar to the University of Puerto Rico and championed the work of Latino writers. He continuously evolved, stretching his talents. Ferrer's life is an American success story and a testament to reinvention and resilience.