Trivia: "The First Lady of the Silent Screen," Lillian Gish was the movie industry's first true actress. A pioneer of fundamental film performing techniques, she was the first star to recognize the many crucial differences between acting for the stage and acting for the screen, and while her contemporaries painted their performances in broad, dramatic strokes, Gish delivered finely etched, nuanced turns carrying a stunning emotional impact. While by no means the biggest or most popular actress of the silent era, she was the most gifted, her seeming waiflike frailty masking unparalleled reserves of physical and spiritual strength. More than any other early star, she fought to earn film recognition as a true art form, and her achievements remain the standard against which those of all other actors are measured. Born Lillian de Guiche October 14, 1893, in Springfield, OH, Gish, her younger sister, Dorothy, and their mother, actress Mary Gish, soon relocated to New York. Beginning their acting careers not long after, the girls were in short time the family breadwinners. Among their colleagues was another child actress, Mary Pickford, who in 1909 traveled west to Hollywood to pursue a career in the movies. She found work with the famed director D.W. Griffith, and soon persuaded him to recruit the Gish sisters for his Biograph Studios' repertory company of actors. Lillian and Dorothy debuted together in 1912's An Unseen Enemy and over the next several years appeared both together and independently in dozens of the director's one- and two-reelers. While overshadowed by Pickford's fame, Lillian was the Griffith stable's most skilled actress, and she starred in many of his greatest works, including 1915's The Birth of a Nation, 1916's Intolerance, 1920's Way Down East, and 1922's Orphans of the Storm.With her delicate, luminous beauty, Gish was perfect for Griffith's Victorian-styled melodramas; wide-eyed and restrained, her face a marvel of innocence and nuance, she was nothing less than ideal for Griffith's landmark use of close-up photography. Together, they worked from opposite sides of the camera to push the new medium from lowbrow entertainment into the realm of serious art. In 1920, under Griffith's tutelage, Gish even directed her own film, Remodeling Her Husband, a vehicle for her sister. She left Griffith in 1923, landing at MGM to star in such literary projects as 1926's La Boheme and The Scarlet Letter. In 1930, she made her first sound film, One Romantic Night. Longing to return to Broadway -- and considered a fading star around Hollywood -- she made only one film over the course of the next 13 years, 1933's His Double Life. Instead, she became a fixture of the stage in productions, including 1930's Uncle Vanya, 1936's The Old Maid, and 1937's The Star Wagon. She also played Ophelia opposite John Gielgud's titular Hamlet, and in 1932 published the book Life and Lillian Gish. A supporting role in 1943's The Commandos Strike at Dawn signalled Gish's return to film. Four years later, she received her first Oscar nomination for her work in the acclaimed Duel in the Sun. However, after 1948's Portrait of Jennie, Gish again exited Hollywood for the stage, and did not return to movies prior to 1955's The Cobweb. Later that same year, she also co-starred in Charles Laughton's classic The Night of the Hunter and infrequently appeared on television. After 1967's The Comedians, Gish largely retired from acting, penning a second memoir, The Movies, Mr. Griffith and Me, two years later. In 1971, she won a special Academy Award for her "superlative artistry" and in 1977 co-starred in Robert Altman's A Wedding. After being honored in 1984 by the American Film Institute, in 1987, she accepted her final starring role, opposite Bette Davis, in The Whales of August. Lillian Gish died in New York City on February 27, 1993.

Trivia: Peter Lind Hayes was the son of entertainer/nightclub entrepreneur Grace Hayes (1896-1989). Hayes was nine years old when he joined his mother's vaudeville act, doing an impression of Hollywood child star Jackie Coogan. He then spent several years as the star attraction of the Grace Hayes Lodge in the San Fernando Valley. In 1938, he made the first of his sporadic film appearances, and in 1940, he married his future stage and screen partner, singer/actress Mary Healy. While serving with distinction in the Army Air Force, Hayes was featured in the 1944 20th Century-Fox feature Winged Victory. From 1946 onward, the songs-and-snappy-patter team of Peter Lind Hayes and Mary Healey was a top New York nightclub and theatrical attraction. They extended their activities to TV in 1949, starring in such variety series as Inside the USA With Chevrolet (1949-50), The Stork Club (1950), The Peter Lind Hayes Show (1950-51, with Mary--originally titled Peter and Mary) and Star of the Family (1951). Their last regular TV gig was the semiautobiographical 1960 sitcom Peter Loves Mary (1960). In addition, Hayes and Healey starred in the 1958 Broadway play Who Was That Lady I Saw You With?, while Hayes soloed as Arthur Godfrey's TV and radio summer replacement and as one of the post-Paar, pre-Carson hosts of The Tonight Show. While his film career never attained the heights of his activities elsewhere, Hayes enjoyed at least one truly memorable screen role: Mr. Zalbedowski in the cult musical fantasy 5000 Fingers of Dr. T, co-starring wife Mary and Hans Conried. Active in a number of entertainment fields, Peter Lind Hayes was the author of three books and several magazine and newspaper articles, and served as producer-host of the 1975 anthology series When Television Was Live.

Trivia: A former teen fashion model, Maggie McNamara first appeared on Broadway in 1951 when she took over Barbara Bel Geddes' role in The Moon Is Blue. She played the same role in the 1953 film version and became a star, earning an Oscar nomination in the process. With such an auspicious start, McNamara's prospects looked bright. She then signed to Fox but only starred in two films during the mid-'50s and then inexplicably disappeared until 1963, when she popped up in a supporting role in The Cardinal. The year before she had appeared in a Broadway play. McNamara was not heard of again until early 1978 when she died of a drug overdose.