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|Also Known As:||Bob Evans,Bobby Evans,Robert Shapera,Robert J. Evans||Died:|
|Born:||June 29, 1930||Cause of Death:|
|Birth Place:||New York City, New York, USA||Profession:||Producer ... producer actor radio performer executive film teacher clothing manufacturer|
Perhaps one of the most notorious personages ever to grace motion pictures, producer and former Paramount Pictures studio head Robert Evans blazed a trail through Hollywood that left behind numerous fractured marriages, countless heartbroken starlets, several friends-turned-enemies, and a career brimming with some of the best movies ever made. After receiving his start as an actor in movies like "The Sun Also Rises" (1957) and "The Best of Everything" (1959), Evans turned to producing in the late-1960s, which quickly led to becoming a powerful executive at the struggling Paramount Pictures. Almost immediately, Evans had a profound effect on the studio's bottom line, churning out hits like "Barefoot in the Park" (1967), "The Odd Couple" (1968) and "Rosemary's Baby" (1968). In the following decade, he steadied Paramount's fortunes with huge hits like "Love Story" (1970) and "The Godfather" (1972), before leaving the studio to branch out on his own as a producer with "Chinatown" (1974). Following up with "Marathon Man" (1976) and "Black Sunday" (1977), Evans seemed impervious to failure. But in 1980, following a cocaine bust and the ridicule endured from producing "Popeye" (1980), Evans hit a career slump that ended with him broke and ostracized from Hollywood. The final straw was "The Cotton Club" (1984), a huge flop that was mired in production excesses that also included the murder of a financier, for which Evans was briefly implicated. Sinking further into debt, depression and cocaine addiction, Evans languished in obscurity for the remainder of the decade. He reemerged with the misfire "Chinatown" sequel, "The Two Jakes" (1990), and spent the rest of the 1990s making critical and financial disasters like "Sliver" (1993), "Jade" (1995) and "The Saint" (1997). He earned a degree of cult status following the self-narrated documentary "The Kid Stays in the Picture" (2002), which introduced Evans to a new generation while reminding older crowds just how integral he had been to one of cinema's most vibrant eras.
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