Sal mineo gay
Sal Mineo was stunning. Hauntingly and uniquely so. His big, brown eyes, sweetly sad and darkly intense, his cleft-chinned handsomeness mixed with an almost cherubic baby beauty that remained child-like longer than he probably would have preferred, were so impressive and different that the youth was discovered on the sidewalk. He was with other kids, but Sal stood out. It was 1948 and Sal was outside playing with his sister and friends when a man approached the children. The man asked if the kids would like to be on TV. Sal smarted something assist at him and right away – the man saw something a short-lived extra in this kid. He asked to speak to their mother. Later, Sal was approached by a casting agent and likely observed what the other guy observed – his loveliness, yes, but also the child’s charisma and charm, things that pop on stage and in photographs and on television and, wonderfully, writ large, on movie screens.
Mineo had that it. It’s not just a matter of attraction; it’s a matter of intrigue, a multifaceted intensity that could move from terrific joy when he breaks out into a chuckle with James Dean to bursts of mischievousness, manically slapping the drum
Sal Mineo has a face you want to kiss.
His large eyes, eternally youthful features, and affable, approachable body language made him instantly empathetic, like the affectionate, smiling parent-friendly boyfriend you always fantasized about as an elementary school student. His boyish superb looks, on the surface, communicated that he might be a sterile teeny-bopper icon (which, incidentally, he might have been), but his gentle eyes and vulnerable demeanor suggested a soulful and relatable human being. He didn’t put up any barriers, and made no attempts to endure aloof or “cool.” With Mineo, what we saw was what we got. And we saw a good deal of talent.
In life, Mineo was approachable, clear, and could even be refreshingly crass from time to occasion (he often referred to himself as a “wop”). In interviews, he always seemed relaxed and genial. This stands counter to a lot of his more famous screen roles, wherein he frequently portrayed guarded or cagey characters. His most famous role, that of John “Plato” Crawford in Nicholas Ray’s Rebel Without a Cause, depicted him as a put-upon and abused new man who not-to-secretly longed for Jim Stark (James Dean) to be an ersatz father f
Bobby Sherman had an affair with Sal Mineo?
After his divorce, Lockin went advocate on tour with Hello Dolly!, continuing his role as Barnaby. He stayed with the tour until it ended; at which aim , with his career in decline due to substance violence issues, Lockin moved into his mother's apartment in Anaheim. Around 1974, Lockin began assisting his mother in running the Jean Lockin Dance Studio.[13] The studio closed in early 1977, and Lockin began instruction at another boogie studio.
On the late hours of August 21, 1977, Lockin went to a lgbtq+ bar in Garden Grove, California.[14] He left the exclude with a slight, 34-year-old unemployed medical clerk, Charles Leslie Hopkins (who already had a police record, and was on probation at the time). Several hours later, Hopkins called police to say that a man had entered his apartment and tried to steal him.[13] Upon arrival, police found Lockin's body on the floor of Hopkin's apartment. He had been stabbed 100 times, and bled to death.[13] His body had also been mutilated after death.[14] Hopkins claimed he had no idea how the dead body got in his apartment.[15] He was arrested immediately.
Lockin was interred at Westminster Memorial Park cemetery in W
Bisexual actor Sal Mineo (1939-1976) was defined by two things: his unforgettable Academy Award–nominated role opposite James Dean in the clip Rebel Without a Cause (at age 15), and his murder in Hollywood at the age of 37.
Nevertheless, the Bronx-born actor of Italian heritage appeared in 22 films, directed stage plays and operas and made many television appearances. While still a youth he was mentored by Yul Brynner in the stage musical The King and I, Mineo had taken over the role of the young Prince Chulalongkorn three months into the show's initial run.
Sal Mineo was so convincing as Plato in Rebel Without a Cause* that he was nominated for an Academy Award as Leading Supporting Actor, leading to his being forever typecast as a troubled youth. It was difficult for him to sustain an acting career when he became too old for such parts. A welcome exception came with the role of a Jewish emigrant in Otto Preminger’s film Exodus (1960), for which he won a Golden Globe Award and received a second Academy Award Nomination for Foremost Supporting Actor. Another evade from typecasting was his star turn as drummer Gene Krupa in The Gene Krupa Stor