Lana Wood(I)
- Actress
- Producer
- Additional Crew
Provocative and ever the temptress in her prime, the dark-maned, gorgeous Lana Wood was born Svetlana Gurdin on March 1, 1946, in Santa Monica, California, to Nick Gurdin (né Nikolai Zacharenko) and Maria Gurdin (known by countless aliases, usually Mary Zoudilova), émigrés of Ukrainian and Russian descent. Both her parents' families fled their Russian homeland following the Communist takeover and the couple met and married in San Francisco. Lana's more famous acting sister was christened Natalia eight years earlier and the eldest girl in the family was an Armenian half-sister named Olga Tatuloff, their mother's child from a 1920s marriage.
Young Natalia (renamed Natalie Wood, out of respect to director Sam Wood) became a child star in the late 1940s, with such classics as Le Miracle sur la 34ème rue (1947), and younger sis Lana would inevitably be drawn into films as a result of Natalie's overwhelming success. She made her "debut" as a baby in Natalie's "B" film Jenny et son chien (1947) only to have her cute bit cut from the picture. Her first screen credit actually came with the John Ford classic La Prisonnière du désert (1956) as a younger version of Natalie's character, and she was off and running.
In an effort to break away from her sister's looming shadow and find her own place in Hollywood, Lana set out to secure TV roles and did quite well on such popular programs as Playhouse 90 (1956), Have Gun - Will Travel (1957), Le Jeune Docteur Kildare (1961) and Le fugitif (1963), while continuing her minor appearances in such films as La fureur d'aimer (1958) (again with Natalie), Five Finger Exercise (1962) and the The Girls on the Beach (1965).
In 1965 she earned a contract at Twentieth Century-Fox and was cast in her first television series, The Long, Hot Summer (1965), playing the Southern belle role Lee Remick had played in the 1958 film (Les feux de l'été (1958)). Better yet was her 1966 breakthrough role as hash-slinging waitress "Sandy Webber" on the original prime-time soap opera smash Peyton Place (1964), which she played for two seasons. Unlike the glamorous and refined Natalie, Lana developed an earthier "bad girl" persona. Her character femmes bore typical hard-luck stories--tarnished girls from the wrong side of the tracks who were often more trouble than they were worth. Off-screen, she married Peyton Place (1964) co-star Steve Oliver, who played her abusive husband and jailbird "Lee Webber." The marriage lasted approximately one month.
After Peyton Place (1964), Lana continued to exude sex appeal in such films as For Singles Only (1968) and Scream Free! (1969), a drug tale that reunited Natalie's West Side Story (1961) co-stars Richard Beymer and Russ Tamblyn. She kept her name alive on TV as well, making the guest rounds on Les mystères de l'Ouest (1965), Bonanza (1959), Brigade criminelle (1966) and Laugh-In (1967).
In April 1971, Lana posed for Playboy in an attempt to gain added exposure. It worked. A major career boost presented itself in the form of producer Albert R. Broccoli (nicknamed "Cubby"), who caught the spread and offered her the role of Bondian femme fatale "Plenty O'Toole" in Les diamants sont éternels (1971) opposite Sean Connery. Following all this sexy publicity, Lana somehow nabbed an unexpected role in the Disney romp Justin Morgan Had a Horse (1972).
Although she stayed fairly active throughout the next decade or so with such TV movies as Le Trésor de l'Hidalgo (1970), QB VII (1974) and Cauchemar au pénitencier (1976), and the films Duel à cheyenne pass (1977) and Les yeux du cauchemar (1982), her star began to diminish.
Marriages during the 1970s included a union with actor/co-star Richard Smedley, whom she met on the set of A Place Called Today (1972). They produced her only child, daughter Evan, in 1974. She later married producer Allan Balter after meeting him during the filming of Captain America (1979). Six marriages would come and go before 1980.
In the mid-'80s she appeared for a time on the daytime soap opera Capitol (1982) but made a decision to move away from the acting arena after this period. Following the tragic drowning death of sister Natalie in 1981, Lana penned the controversial tell-all book "Natalie, A Memoir by Her Sister". What was meant as a candid, caring and cathartic expose on Lana's part was denounced by both critics and family alike as self-serving and hurtful. Later years included behind-the-camera work as a producer, which included co-producing the ABC-TV special Natalie Wood - Le prix de la gloire (2004). She also had her own casting company at one point.
After an extended absence, Lana was seen again on the screen into the millennium. Independent features include Renovation (2010), Donors (2014), Bestseller (2015), Killing Poe (2016), Subconscious Reality (2016), Wild Faith (2018) and Bill Tilghman and the Outlaws (2019). A devoted animal lover, the still-stunning grandmother-of-three occasionally appears at celebrity conventions and continues to work in films.
Young Natalia (renamed Natalie Wood, out of respect to director Sam Wood) became a child star in the late 1940s, with such classics as Le Miracle sur la 34ème rue (1947), and younger sis Lana would inevitably be drawn into films as a result of Natalie's overwhelming success. She made her "debut" as a baby in Natalie's "B" film Jenny et son chien (1947) only to have her cute bit cut from the picture. Her first screen credit actually came with the John Ford classic La Prisonnière du désert (1956) as a younger version of Natalie's character, and she was off and running.
In an effort to break away from her sister's looming shadow and find her own place in Hollywood, Lana set out to secure TV roles and did quite well on such popular programs as Playhouse 90 (1956), Have Gun - Will Travel (1957), Le Jeune Docteur Kildare (1961) and Le fugitif (1963), while continuing her minor appearances in such films as La fureur d'aimer (1958) (again with Natalie), Five Finger Exercise (1962) and the The Girls on the Beach (1965).
In 1965 she earned a contract at Twentieth Century-Fox and was cast in her first television series, The Long, Hot Summer (1965), playing the Southern belle role Lee Remick had played in the 1958 film (Les feux de l'été (1958)). Better yet was her 1966 breakthrough role as hash-slinging waitress "Sandy Webber" on the original prime-time soap opera smash Peyton Place (1964), which she played for two seasons. Unlike the glamorous and refined Natalie, Lana developed an earthier "bad girl" persona. Her character femmes bore typical hard-luck stories--tarnished girls from the wrong side of the tracks who were often more trouble than they were worth. Off-screen, she married Peyton Place (1964) co-star Steve Oliver, who played her abusive husband and jailbird "Lee Webber." The marriage lasted approximately one month.
After Peyton Place (1964), Lana continued to exude sex appeal in such films as For Singles Only (1968) and Scream Free! (1969), a drug tale that reunited Natalie's West Side Story (1961) co-stars Richard Beymer and Russ Tamblyn. She kept her name alive on TV as well, making the guest rounds on Les mystères de l'Ouest (1965), Bonanza (1959), Brigade criminelle (1966) and Laugh-In (1967).
In April 1971, Lana posed for Playboy in an attempt to gain added exposure. It worked. A major career boost presented itself in the form of producer Albert R. Broccoli (nicknamed "Cubby"), who caught the spread and offered her the role of Bondian femme fatale "Plenty O'Toole" in Les diamants sont éternels (1971) opposite Sean Connery. Following all this sexy publicity, Lana somehow nabbed an unexpected role in the Disney romp Justin Morgan Had a Horse (1972).
Although she stayed fairly active throughout the next decade or so with such TV movies as Le Trésor de l'Hidalgo (1970), QB VII (1974) and Cauchemar au pénitencier (1976), and the films Duel à cheyenne pass (1977) and Les yeux du cauchemar (1982), her star began to diminish.
Marriages during the 1970s included a union with actor/co-star Richard Smedley, whom she met on the set of A Place Called Today (1972). They produced her only child, daughter Evan, in 1974. She later married producer Allan Balter after meeting him during the filming of Captain America (1979). Six marriages would come and go before 1980.
In the mid-'80s she appeared for a time on the daytime soap opera Capitol (1982) but made a decision to move away from the acting arena after this period. Following the tragic drowning death of sister Natalie in 1981, Lana penned the controversial tell-all book "Natalie, A Memoir by Her Sister". What was meant as a candid, caring and cathartic expose on Lana's part was denounced by both critics and family alike as self-serving and hurtful. Later years included behind-the-camera work as a producer, which included co-producing the ABC-TV special Natalie Wood - Le prix de la gloire (2004). She also had her own casting company at one point.
After an extended absence, Lana was seen again on the screen into the millennium. Independent features include Renovation (2010), Donors (2014), Bestseller (2015), Killing Poe (2016), Subconscious Reality (2016), Wild Faith (2018) and Bill Tilghman and the Outlaws (2019). A devoted animal lover, the still-stunning grandmother-of-three occasionally appears at celebrity conventions and continues to work in films.
