![Retrato de Robert Vaughn [actor]](/_next/image?url=https%3A%2F%2Fcovers.openlibrary.org%2Fa%2Fid%2F15144375-L.jpg&w=640&q=75)
Robert Vaughn [actor]
22 November 1932 — 11 November 2016 · 5 obras en el catálogo
Robert Francis Vaughn (November 22, 1932 – November 11, 2016) was an American actor and political activist, whose career in film, television and theater spanned nearly six decades and who was best known for his role as secret agent Napoleon Solo on The Man from U.N.C.L.E. (1964–68). He was a Primetime Emmy Award winner, and was nominated for the Academy Award, the BAFTA Award, two Laurel Awards, and four times for the Golden Globe Award. Vaughn also has a star on the Hollywood Walk of Fame. Vaughn had his breakthrough role as disabled, drunken war veteran Chester A. Gwynn in The Young Philadelphians, earning him a 1960 Oscar nomination for Best Supporting Actor. He subsequently appeared in scores of films, notably as gunman Lee in The Magnificent Seven (1960), Walter Chalmers in Bullitt, Major Paul Krueger in The Bridge at Remagen (1969), the voice of Proteus IV in Demon Seed (1977) and Ross Webster in Superman III (1983). To television audiences, in addition to his role as Solo, Vaughn was known for his roles as private detective Harry Rule on The Protectors (1972–74), Morgan Wendell in the miniseries Centennial (1978–79), and Albert Stroller on the BBC Television drama Hustle (2004–12). He won an Emmy Award for Outstanding Supporting Actor in a Drama Series for his portrayal of the White House Chief of Staff in the miniseries Washington: Behind Closed Doors. He also appeared in the British soap opera Coronation Street as Milton Fanshaw from January until February 2012. Aside from his acting career, Vaughn was active in Democratic Party politics. He was chair of the California Democratic State Central Committee speakers bureau during the 1960s, and publicly campaigned against the Vietnam War as a member of the peace group Another Mother for Peace.[5] A PhD in communications, his 1970 doctoral thesis "The Influence of the House Committee on Un-American Activities on the American Theater 1938–58" is considered "the most complete and intelligent treatment of the virulent practice of blacklisting now available."
