Van Johnson height - How tall is Van Johnson?

Referenced in the second episode of American Horror Story (2011). Jessica Lange's character says that her husband looked like Van Johnson.

His last musical role was as Cap' Andy in "Show Boat" in 1991, and his last several movies were primarily filmed overseas in Italy and Australia.

He earned respectable reviews after replacing Gene Barry as Georges in the smash gay musical "La Cage Aux Folles" in 1985.

Occasional featured roles on film in later years included Concorde Affaire '79 (1979), The Kidnapping of the President (1980), The Purple Rose of Cairo (1985), Killer Crocodile (1989), Delta Force Commando II: Priority Red One (1990) and Clowning Around (1992). Van was married only once but it was the constant source of tabloid news.

" He earned an Emmy nomination for his participation in the mini-series Rich Man, Poor Man (1976), and co-starred or was featured in such TV movies as Call Her Mom (1972), Superdome (1978), Black Beauty (1978), Getting Married (1978) and Three Days to a Kill (1992). In later years, he grew larger in girth but still continued to work.

The marriage ended acrimoniously in 1968 and decades later Eve published a statement (after her death in 2004) confirming suspicions that MGM had engineered their marriage to cover up Johnson's homosexuality.

While on the nightclub act tour in 1963, he was forced to stop after having to undergo operations for skin cancer on his left thigh. A second operation to remove a lymph gland was successful in curbing the disease.

," "Forty Carats," "Bye Bye Birdie," "There's a Girl in My Soup" and "I Do! I Do!"Van delved heavily into TV from the late 1960's on and served as a guest on such shows as "Laugh-In," "The Name of the Game," "The Red Skelton Show," "Nanny and the Professor," "The Virginian," "The Doris Day Show," "Love, American Style," "Maude," "Quincy," "McMillan & Wife," "The Love Boat," "Fantasy Island" and "Murder, She Wrote.

After Van Heflin turned down the role of Elliot Ness on The Untouchables (1959) it was offered to Johnson. He turned it down as well.

While Van continued working as a freelancer in such as the English-made The End of the Affair (1955) with Deborah Kerr; Miracle in the Rain (1956) opposite Jane Wyman, The Bottom of the Bottle (1956) with Joseph Cotten, 23 Paces to Baker Street (1956) co-starring Vera Miles, Kelly and Me (1956) partnered with a dog, and Web of Evidence (1959), he again capitalized on his musical talents by reinventing himself as a nightclub performer and musical stage star on the regional and dinner theater circuits, including "The Music Man," "Damn Yankees," "Guys and Dolls," "Bells Are Ringing," "On a Clear Day. . .

The scars from the injury received in a car crash described in his biography are very evident in The Caine Mutiny (1954).

When MGM's "golden age" phased out by the mid-1950s, Van's movie career took a sharp decline and the studio released him after he co-starred with Elizabeth Taylor in The Last Time I Saw Paris (1954).

Van is referenced in the song "Prehistoric Man" from the musical On the Town (1949).

He continued to demonstrate his dramatic mettle in such well-regarded films as Command Decision (1948), State of the Union (1948), Battleground (1949), Brigadoon (1954) and The Caine Mutiny (1954) and remained a popular star for three more decades.

Van and Eve went on to have one child, daughter Schuyler, in 1948, and were a popular Hollywood couple before separating after fifteen years of marriage.

Shockingly, Van wound up marrying Wynn's ex-wife, one-time stage actress Evie Wynn Johnson, immediately after the Wynn's divorced in 1947.

Van Johnson was the fresh-faced, well-mannered nice guy on screen you always wanted your daughter to marry! This fair, freckled and invariably friendly-looking MGM song-and-dance star of the 40s emerged a box office favorite (1944-1946) and second only to heartthrob Frank Sinatra during what gossip monger Hedda Hopper dubbed the "Bobby-soxer Blitz" era. Johnson's musical timing proved just as adroit as his legit career timing for he was able to court WWII stardom as a regimented MGM symbol of the war effort with an impressive parade of earnest soldiers. He may have been a second tier musical star behind the likes of Fred Astaire and Gene Kelly, but his easy smile, wholesome, boy-next-door appeal and strawberry-blond good looks made him a solid box-office attraction while MGM's "big boys" were off to war.

Van's career soared during the war years, making him and Lawford the resident heartthrobs not only in musicals (Two Girls and a Sailor (1944), Easy to Wed (1946)), but in airy comedies (Week-End at the Waldorf (1945)) and, of course, more war stories (Thirty Seconds Over Tokyo (1944)). When the big stars such as Clark Gable, James Stewart and Robert Taylor returned to reclaim post-war stardom, Van willingly relinquished his "golden boy" pedestal, but he remained a high profile musical star opposite the likes of June Allyson, Esther Williams and Judy Garland.

Stardom came, and at quite a price, for Van when he was cast yet again as a wholesome serviceman in A Guy Named Joe (1943). During the early part of filming, he was severely injured in a near-fatal car crash (he had a metal plate inserted in his skull, which instantly gave him a 4-F disqualification status for war service). Endangered of being replaced on the film, the two stars of the picture, Spencer Tracy (who became another lifelong friend) and Irene Dunne, insisted that the studio work around his convalescence or they would quit the film. The unusually kind gesture made Van a star following the film's popular release and resulting publicity.

He went on to co-star with Faye Emerson in Murder in the Big House (1942), but they dropped him quickly feeling that his acting chops were lacking. It was Arnaz's wife Lucille Ball, who had recently signed with MGM, who introduced Van to Billy Grady, MGM's casting head, and instigated a successful screen test.

With the studio's top male talent off to war, Van (along with Peter Lawford) served as an earnest substitute donning fatigues in such stalwart movies as Somewhere I'll Find You (1942) The War Against Mrs.

Hadley (1942) and The Human Comedy (1943). In addition, he replaced actor/war pacifist Lew Ayres in the "Dr. Kildare/Dr. Gillespie" film series after Ayres was unceremoniously dumped by the studio for his unpopular beliefs.

Johnson made an inauspicious film debut with Arnaz in Too Many Girls (1940) when the musical was eventually lensed in Hollywood, but he was cast in a scant chorus boy part.

Following a stint on Broadway in "Pal Joey" in 1940, Warner Bros. signed Van to a six-month contract.

Typically in the closet as a high-ranking actor of the 1940s, he was extremely close friends with fellow MGM actor Keenan Wynn and his wife.

He served as understudy to the three male leads of Rodgers and Hart's popular musical "Too Many Girls" in October of 1939 and eventually replaced one of them (actor Richard Kollmar left the show to marry reporter Dorothy Kilgallen. ) He also formed a lifelong and career-igniting friendship with one of the other leads, Desi Arnaz.

A couple of minor breaks occurred with his 40-week stint in the "New Faces of 1936" revue (making his Broadway debut) and in a vaudeville club act (based around star Mary Martin) called "Eight Young Men of Manhattan" that played the Rainbow Room.

Born Charles Van Dell Johnson in Newport, Rhode Island, on August 25, 1916, Van was the only child of Loretta (Snyder) and Charles E. Johnson. His paternal grandparents were Swedish, and his mother was of German, and a small amount of Irish, ancestry. Johnson endured a lonely and unhappy childhood as the sole offspring of an extremely aloof father (who was both a plumber and real estate agent by trade) and an absentee mother (she abandoned the family when he was three, the victim of alcoholism). A paternal grandmother helped in raising the young lad. Happier times were spent drifting into the fantasy world of movies, and he developed an ardent passion to entertain. Taking singing, dancing and violin lessons during his high school years, he disregarded his father's wish to become a lawyer and instead left home following graduation to try his luck in New York. Early experiences included chorus lines in revues, at hotels and in various small shows around town.

His mother, Loretta (Snyder) Johnson, was born February 5, 1893, in Tremont, Pennsylvania. She died January 1978 in Palo Alto, California.