Lisa Montell

Warsaw, Poland

Biography

From Wikipedia, the free encyclopedia Lisa Janti is known as Lisa Montell as a Hollywood actress of the 1950-60s, and then shifted her career to one of advocacy and service to various disadvantaged groups and to her adopted religion, the Bahá'í Faith. Lisa Janti, known as Lisa Montell as a Hollywood actress of the 1950-60s, was born Irena Ludmila Vladimirovna Augustynowic of Russian-Polish ancestry, and her family fled to Poland before World War II. On arrival in New York they changed their last name to Montwill so she grew up Irene Montwill. They lived in New York and Janti attended the Fiorello H. LaGuardia High School of Music & Art and Performing Arts. After becoming involved in English-speaking theatre she was noticed by Hollywood producer Dick Welding who offered her a part in Daughter of the Sun God, filmed in Peru c. 1953 with actor William Holmes. Shortly afterwards her father died and the family chose to follow the opportunity Hollywood was giving her with her career. Her first role may have been in 1954 in the TV series The Public Defender, based on the film of the same name. On television she was on the Cheyenne show episode "Border Showdown" (Showdown in Paso Also) of 1955 and the 1956 Jane Wyman's Fireside Theater episode "A Time to live" and the Sugarfoot show episode "Guns for Big Bear" in 1958. In 1962 she was in Combat! episode "A Day in June". Janti was known as the "Starlet of many faces" probably portraying more diverse ethnic roles though she was Polish including Polynesian, Native American, Mexican, Burmese, French, Italian, Spanish, east Indian and Persian – roles with dubious cultural and sexist stereotypes. Among the productions Janti was cast in are She Gods of Shark Reef, Ten Thousand Bedrooms, Pearl of the South Pacific, Jump Into Hell, The Lone Ranger and the Lost City of Gold, and World Without End.

Movies

Matinee Theater is an American anthology series that aired on NBC during the Golden Age of Television, from 1955 to 1958. The series, which ran daily in the afternoon, was frequently live. It was produced by Albert McCleery, Darrell Ross, George Cahan and Frank Price with executive producer George Lowther. McCleery had previously produced the live series Cameo Theatre which introduced to television the concept of theater-in-the-round, TV plays staged with minimal sets. Jim Buckley of the Pewter Plough Playhouse recalled: When Al McCleery got back to the States, he originated a most ambitious theatrical TV series for NBC called Matinee Theater: to televise five different stage plays per week live, airing around noon in order to promote color TV to the American housewife as she labored over her ironing. Al was the producer. He hired five directors and five art directors. Richard Bennett, one of our first early presidents of the Pewter Plough Corporation, was one of the directors and I was one of the art directors and, as soon as we were through televising one play, we had lunch and then met to plan next week’s show. That was over 50 years ago, and I’m trying to think; I believe the TV art director is his own set decorator —yes, of course! It had to be, since one of McCleery’s chief claims to favor with the producers was his elimination of the setting per se and simply decorating the scene with a minimum of props. It took a bit of ingenuity.

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Matinee Theater
1955