Hope Emerson
Although there may have been "bigger" actresses in Hollywood's history, there were few larger than Hope Emerson. She notably appeared as a witness for the defense in "Adam's Rib". At 6' 2" and 230 pounds, she towered over many of her male co-stars, and her size, brusque voice and stern demeanor typed her for a career in villainous roles, such as her star turn as the sadistic prison matron in Caged (1950), which garnered her an Oscar nomination. She could, however, play lighter parts, as in Westward the Women (1951), in which she played, of all things, a mail-order bride. She also worked steadily in television and played "Mother" in the landmark series Peter Gunn (1958). In the 1950s she was the voice of Elsie the Cow in a series of TV commercials for Borden's milk. She died of liver disease in 1960.
Hope Endrenyi
Hope Endrenyi is an actor, known for Runners (2016), Wonder Egg Priority (2021) and Deca-Dence (2020).
Hope Everhart
Hope Everhart is known for Man with my Husband's Face (2023).
Hope Exiner D'Amore
Hope Exiner D'Amore is known for Untouchable (2019).
Hope Glendon-Ross
Hope Glendon-Ross is known for City Island (2009) and Bi (2014).
Hope Hancock
Hope Hancock is known for A Little Chaos (2014).
Hope Harris
Hope Harris is an Actor, Producer, Model, and Casting Director. Raised in the New Mexico Film industry, Hope has been honing her craft in performance and film since childhood. Recognizable through her campaigns with Google, Coca Cola, Disney, BMW, Asics, AT&T, Clearblue, Alaska Air, and many more. She spent 7 years contributing to the New Mexico film industry as a Casting Director on television shows and features with LionsGate, CBS, ABC, and more. Aside from her unwavering work in film, Hope is the producer and host of Hope Tea, her philanthropy platform that shares Women's stories via podcast, television, community outreach, events, and tea.
Hope Hefner
Hope Hefner is known for It Came from Somewhere (2022), Blood Sisters (2021) and Echo (2023).
Hope Holguin
Hope Holguin is an actress, known for Dead Story (2017).
Hope Holiday
Like Judy Holliday a decade before her, Hope Holiday became known as the dame with "the voice" during the 1960s, her scratchy Brooklynese tones immediately identifiable on film and TV. This buoyant character comedienne, whose blonde tomboy looks and robust energy was reminiscent of Betty Hutton and who gained her way to fame in the films of director Billy Wilder, went on to use this unique voice several times throughout her career before phasing out and moving into producing. She was born Hope Jane Zee on November 30, 1933, in Brooklyn and was raised in Manhattan. The daughter of burlesque comic-turned-Capitol Theatre producer/manager Allen Zee, who was born Allen Zaslawsky of Russian-Jewish parentage but legally changed it to "Zee" before Hope was born, the actress and her older sister Judy were pushed early into the business. Trained in ballet, tap and modern dance, Hope made her young debut with the program "Hearn's Kiddie Hour" on local New York radio where she sang and danced. Via the connections of their influential father, both Hope (billed as "Hope Zee") and Judy (billed as "Judy Sinclair") made their Broadway bows as teens in the chorus of "Gentlemen Prefer Blondes" in 1949 starring Carol Channing. Hope went on to uneventful stints as a Ralph Flanagan band singer, nightclub performer and Copacabana attraction before returning to the stage. Her father changed her stage name to "Hope Holiday" (in tribute to Judy Holliday) to avoid nepotism talk when he and Guy Lombardo cast her as the "Teeny Weeny Genie" in the 1954 musical extravaganza "Arabian Nights" starring Lauritz Melchior at the Jones Beach Marine Theatre in Long Island. After a firing from the Broadway show "Top Banana," Hope's career got back on track in summer stock with such shows as "Guys and Dolls" (wherein she developed "the voice" as Adelaide), "Oklahoma!" (as Ado Annie), "Best Foot Forward" (as Ethel), and as a featured dancer in the 1956 Broadway and film version of Li'l Abner (1959). It really took off, however, after Billy Wilder cast her as Mrs. Margie MacDougall, Jack Lemmon's Christmas Eve tavern pick-up, in the Oscar-winning picture The Apartment (1960). Her distinctive voice and daffy countenance was an immediate hit with audiences, which brought together the right mix of comedy and pathos to her and Lemmon's scenes. Hope's success with this led to a brief, exclusive contract with Paramount and comic Jerry Lewis and a part in his vehicle The Ladies Man (1961), not to mention several TV guest parts in such popular series as "Checkmate," "Have Gun, Will Travel," "Ben Casey," "The New Phil Silvers Show" and "The Farmer's Daughter." She was also cast in the Billy Wilder film Irma la Douce (1963) as Lolita, the flashy Parisienne prostitute with the popping bubble gum and heart-shaped sunglasses and in the western comedy The Rounders (1965) as Henry Fonda's tart/love interest. More TV followed after her 1967 marriage (her second) to character actor Frank Marth, but Hope's acting career gradually waned, with only occasional episodic stints on such comedies as "That Girl!," "Love, American Style," "Switch" and "Vega$". In the early 1980s, at the instigation of friend/actor Cameron Mitchell she began associate/executive producing several of his lowbudget exploitation vehicles including Texas Lightning (1981), Raw Force (1982), Killpoint (1984), Low Blow (1986), Code Name Vengeance (1987), Space Mutiny (1988) and Rage to Kill (1987). She then continued to produce under the auspices of director David Winters before retiring.