Trivia: One of the cinema's most enduring actors, Henry Fonda enjoyed a highly successful career spanning close to a half century. Most often in association with director John Ford, he starred in many of the finest films of Hollywood's golden era. Born May 16, 1905, in Grand Island, NE, Fonda majored in journalism in college, and worked as an office boy before pursuing an interest in acting. He began his amateur career with the Omaha Community Playhouse, often performing with the mother of Marlon Brando. Upon becoming a professional performer in 1928, Fonda traveled east, tenuring with the Provincetown Players before signing on with the University Players Guild, a New England-based ensemble including up-and-comers like James Stewart, Margaret Sullavan, and Joshua Logan. Fonda's first Broadway appearance followed with 1929's The Game of Life and Death. He also worked in stock, and even served as a set designer. In 1931, Fonda and Sullavan were married, and the following year he appeared in I Loved You Wednesday. The couple divorced in 1933, and Fonda's big break soon followed in New Faces of '34. A leading role in The Farmer Takes a Wife was next, and when 20th Century Fox bought the film rights, they recruited him to reprise his performance opposite Janet Gaynor, resulting in his 1935 screen debut. Fonda and Gaynor were slated to reunite in the follow-up, Way Down East, but when she fell ill Rochelle Hudson stepped in. In 1936 he starred in The Trail of the Lonesome Pine (the first outdoor Technicolor production), the performance which forever defined his onscreen persona: Intense, insistent, and unflappable, he was also extraordinarily adaptable, and so virtually impossible to miscast. He next co-starred with Sullavan in The Moon's Our Home, followed by Wings of the Morning (another Technicolor milestone, this one the first British feature of its kind). For the great Fritz Lang, Fonda starred in 1937's You Only Live Once, and the following year co-starred with Bette Davis in William Wyler's much-celebrated Jezebel. His next critical success came as the titular Young Mr. Lincoln, a 1939 biopic directed by John Ford. The film was not a commercial sensation, but soon after Fonda and Ford reunited for Drums Along the Mohawk, a tremendous success. Ford then tapped him to star as Tom Joad in the 1940 adaptation of John Steinbeck's The Grapes of Wrath, a casting decision which even Steinbeck himself wholeheartedly supported. However, 20th Century Fox's Darryl Zanuck wanted Tyrone Power for the role, and only agreed to assign Fonda if the actor signed a long-term contract. Fonda signed, and Zanuck vowed to make him the studio's top star -- it didn't happen, however, and despite the success of The Grapes of Wrath (for which he scored his first Best Actor Academy Award nomination), his tenure at Fox was largely unhappy and unproductive.The best of Fonda's follow-up vehicles was the 1941 Preston Sturges comedy The Lady Eve, made at Paramount on loan from Fox; his co-star, Barbara Stanwyck, also appeared with him in You Belong to Me. After a number of disappointing projects, Fox finally assigned him to a classic, William Wellman's 1943 Western The Ox-Bow Incident. Studio executives reportedly hated the film, however, until it won a number of awards. After starring in The Immortal Sergeant, Fonda joined the navy to battle in World War II. Upon his return, he still owed Fox three films, beginning with Ford's great 1946 Western My Darling Clementine. At RKO he starred in 1947's The Long Night, followed by Fox's Daisy Kenyon. Again at RKO, he headlined Ford's The Fugitive, finally fulfilling his studio obligations with Ford's Fort Apache, his first unsympathetic character. Fonda refused to sign a new contract and effectively left film work for the next seven years, returning to Broadway for lengthy runs in Mister Roberts, Point of No Return, and The Caine Mutiny Court Martial. Outside of cameo roles in a handful of pictures, Fonda did not fully return to films until he agreed to reprise his performance in the 1955 screen adaptation of Mister Roberts, one of the year's biggest hits. Clearly, he had been greatly missed during his stage exile, and offers flooded in. First there was 1956's War and Peace, followed by Alfred Hitchcock's The Wrong Man. In 1957, Fonda produced as well as starred in the Sidney Lumet classic Twelve Angry Men, but despite a flurry of critical acclaim the film was a financial disaster. In 1958, after reteaming with Lumet on Stage Struck, Fonda returned to Broadway to star in Two for the Seesaw, and over the years to come he alternated between projects on the screen (The Man Who Understood Women, Advise and Consent, The Longest Day) with work on-stage (Silent Night, Lonely Night, Critic's Choice, Gift of Time). From 1959 to 1961, he also starred in a well-received television series, The Deputy.By the mid-'60s, Fonda's frequent absences from the cinema had severely hampered his ability to carry a film. Of his many pictures from the period, only 1965's The Battle of the Bulge performed respectably at the box office. After 1967's Welcome to Hard Times also met with audience resistance, Fonda returned to television to star in the Western Stranger on the Run. After appearing in the 1968 Don Siegel thriller Madigan, he next starred opposite Lucille Ball in Yours, Mine and Ours, a well-received comedy. Fonda next filmed Sergio Leone's Once Upon a Time in the West; while regarded as a classic, the actor so loathed the experience that he refused to ever discuss the project again. With his old friend, James Stewart, he starred in The Cheyenne Social Club before agreeing to a second TV series, the police drama Smith, in 1971. That same year, he was cast to appear as Paul Newman's father in Sometimes a Great Notion.After a pair of TV movies, 1973's The Red Pony and The Alpha Stone, Fonda began a series of European productions which included the disastrous Ash Wednesday and Il Mio Nome è Nessuno. He did not fare much better upon returning to Hollywood; after rejecting Network (the role which won Peter Finch an Oscar), Fonda instead appeared in the Sensurround war epic Midway, followed by The Great Smokey Roadblock. More TV projects followed, including the miniseries Roots -- The Next Generation. Between 1978 and 1979, he also appeared in three consecutive disaster movies: The Swarm, City on Fire, and Meteor. Better received was Billy Wilder's 1978 film Fedora. A year later, he also co-starred with his son, Peter Fonda, in Wanda Nevada. His final project was the 1981 drama On Golden Pond, a film co-starring and initiated by his daughter, Jane Fonda; as an aging professor in the twilight of his years, he finally won the Best Actor Oscar so long due him. Sadly, Fonda was hospitalized at the time of the Oscar ceremony, and died just months later on August 12, 1982.

Trivia: "I'm a personality as well as an actress," Katharine Hepburn once declared. "Show me an actress who isn't a personality, and you'll show me a woman who isn't a star." Hepburn's bold, distinctive personality was apparent almost from birth. She inherited from her doctor father and suffragette mother her three most pronounced traits: an open and ever-expanding mind, a healthy body (maintained through constant rigorous exercise), and an inability to tell anything less than the truth. Hepburn was more a personality than an actress when she took the professional plunge after graduating from Bryn Mawr in 1928; her first stage parts were bits, but she always attracted attention with her distinct New England accent and her bony, sturdy frame. The actress' outspokenness lost her more jobs than she received, but, in 1932, she finally scored on Broadway with the starring role in The Warrior's Husband. She didn't want to sign the film contract offered her by RKO, so she made several "impossible" demands concerning salary and choice of scripts. The studios agreed to her terms, and, in 1932, she made her film debut opposite John Barrymore in A Bill of Divorcement (despite legends to the contrary, the stars got along quite well). Critical reaction to Hepburn's first film set the tone for the next decade: Some thought that she was the freshest and most original actress in Hollywood, while others were irritated by her mannerisms and "artificial" speech patterns. For her third film, Morning Glory (1933), Hepburn won the first of her four Oscars. But despite initial good response to her films, Hepburn lost a lot of popularity during her RKO stay because of her refusal to play the "Hollywood game." She dressed in unfashionable slacks and paraded about without makeup; refused to pose for pinup pictures, give autographs, or grant interviews; and avoided mingling with her co-workers. As stories of her arrogance and self-absorption leaked out, moviegoers responded by staying away from her films. The fact that Hepburn was a thoroughly dedicated professional -- letter-perfect in lines, completely prepared and researched in her roles, the first to arrive to the set each day and the last to leave each evening -- didn't matter in those days, when style superseded substance. Briefly returning to Broadway in 1933's The Lake, Hepburn received devastating reviews from the same critics who found her personality so bracing in The Warrior's Husband. The grosses on her RKO films diminished with each release -- understandably so, since many of them (Break of Hearts [1935], Mary of Scotland [1936]) were not very good. She reclaimed the support of RKO executives after appearing in the moneymaking Alice Adams (1935) -- only to lose it again by insisting upon starring in Sylvia Scarlett (1936), a curious exercise in sexual ambiguity that lost a fortune. Efforts to "humanize" the haughty Hepburn personality in Stage Door (1937) and the delightful Bringing Up Baby (1938) came too late; in 1938, she was deemed "box-office poison" by an influential exhibitor's publication. Hepburn's career might have ended then and there, but she hadn't been raised to be a quitter. She went back to Broadway in 1938 with a part written especially for her in Philip Barry's The Philadelphia Story. Certain of a hit, she bought the film rights to the play; thus, when it ended up a success, she was able to negotiate her way back into Hollywood on her own terms, including her choice of director and co-stars. Produced by MGM in 1940, the film version was a box-office triumph, and Hepburn had beaten the "poison" label. In her next MGM film, Woman of the Year (1942), Hepburn co-starred with Spencer Tracy, a copacetic teaming that endured both professionally and personally until Tracy's death in 1967. After several years of off-and-on films, Hepburn scored another success with 1951's The African Queen, marking her switch from youngish sophisticates to middle-aged character leads. After 1962's Long Day's Journey Into Night, Hepburn withdrew from performing for nearly five years, devoting her attention to her ailing friend and lover Tracy. She made the last of her eight screen appearances with Tracy in Guess Who's Coming to Dinner (1967), which also featured her niece Katharine Houghton. Hepburn won her second Oscar for this film, and her third the following year for A Lion in Winter; the fourth was bestowed 13 years later for On Golden Pond (1981). When she came back to Broadway for the 1969 musical Coco, Hepburn proved that the years had not mellowed her; she readily agreed to preface her first speech with a then-shocking profanity, and, during one performance, she abruptly dropped character to chew out an audience member for taking flash pictures. Hepburn made the first of her several television movies in 1975, co-starring with Sir Laurence Olivier in Love Among the Ruins -- and winning an Emmy award, as well. Her last Broadway appearance was in 1976's A Matter of Gravity. Throughout the 1970s and 1980s, Hepburn continued to star on TV and in films, announcing on each occasion that it would be her last performance. She also began writing books and magazine articles, each of them an extension of her personality: self-centered, well-organized, succinct, and brutally frank (especially regarding herself). While she remained a staunch advocate of physical fitness, Hepburn suffered from a genetic condition, a persistent tremor that caused her head to shake -- an affliction she blithely incorporated into her screen characters. In 1994, Warren Beatty coaxed Hepburn out of her latest retirement to appear as his aristocratic grand-aunt in Love Affair. Though appearing frailer than usual, Hepburn was in complete control of herself and her craft, totally dominating her brief scenes. And into her nineties and on the threshold of her tenth decade, Katharine Hepburn remained the consummate personality, actress, and star.On June 29, 2003 Katharine Hepburn died of natural causes in Old Saybrook, Connetticut. She was 96.

Trivia: Hollywood legend has it that Bette Davis was forced to talk to a blank wall rather than her co-star Henry Fonda during filming of her close-ups in Jezebel; the reason was that he had repaired to New York to attend the birth of his daughter Jane. A child of privilege, the young Jane Fonda exhibited the imperious, headstrong attitude and ruthlessness that would distinguish both her film work and her private life. The teenage Fonda wasn't keen on acting until she worked with her father in a 1954 Omaha Community Theatre production of The Country Girl. Slightly interested in pursuing a stage career at that point, Fonda nonetheless studied art both at Vassar and in Europe, returning to the States to work as a fashion model. Studying acting in earnest at Lee Strasberg's Actors' Studio, Fonda ultimately starred on Broadway in Tall Story, then made her film debut by re-creating this stage appearance in 1960. A talented but not really distinctive player at that time, Fonda astonished everyone (none as much as her father) by becoming one of the first major American actresses to appear nude in a foreign film. This was La Ronde (1964), directed by her lover (and later her first husband) Roger Vadim. The event was heralded by a giant promotional poster in New York's theater district, with Fonda's naked backside in full view for all of Manhattan to see. Vadim decided to mold Fonda into a "sex goddess" in a series of lush but forgettable films; the best Fonda/Vadim collaboration was Barbarella (1968), which scored as much on the actress' sharp comic timing (already evidenced in such American pictures as Cat Ballou [1965]) as it did on her kinky costuming. In the late '60s, Fonda underwent another career metamorphosis when she became involved in the anti-Vietnam War movement. Her notorious visit to North Vietnam at the height of the conflict earned her the sobriquet "Hanoi Jane," as well as the enmity of virtually every ex-GI who fought in Southeast Asia. Even so, Fonda's film stardom ascended in the early '70s; in 1971, she won the first of two Oscars for her portrayal of a high-priced prostitute in Klute (her other was for Coming Home [1978]), and Fonda's career flourished despite a sub-rosa Hollywood campaign to discredit the actress and spread idiotic rumors about her subversive behavior (one widely circulated fabrication had Fonda destroying the only existing negative of Stagecoach because she despised John Wayne).In the 1980s, the actress realized several personal and career milestones: she worked with her father on film for the only time in On Golden Pond (1981); she assisted former peace activist Tom Hayden, whom she had married in the early '70s, in his successful bid for the California State Assembly; and she launched the first of several best-selling exercise videos. She also won an Emmy for her performance in the TV movie The Dollmaker (1984). After her marriage to Hayden ended in the early '80s, Fonda married media mogul Ted Turner in 1991 (the couple would divorce in 2000), and began curtailing her film appearances, all but retiring from the screen after her lead role opposite Robert De Niro in 1990s Stanley & Iris. Fonda was no less the social activist in the 1990s than she was two decades earlier; among her projects was the production of several "revisionist" dramatic specials and documentaries about the history of Native Americans, duly telecast on Turner's various worldwide cable services.Just when it seemed audiences might have seen the last of Fonda on the big screen, she proved that she had no intention of retiring. The 2000's would see the veteran actress continuing to star in a vareity of projects, like Monster-in-Law, Georgia Rule, and Peace, Love, & Misunderstanding.

Trivia: Coleman attended a Virginia military school before studying law and serving in the army. While attending the University of Texas, Coleman became attracted to acting, and headed to New York, where he studied at the Neighborhood Playhouse. After stage experience and TV work, Coleman made his movie debut in 1965's The Slender Thread. Minus his trademarked mustache for the most part in the mid-1960s, Coleman specialized in secondary character roles. He began to branch into comedy during his supporting stint as obstetrician Leon Bessemer on the Marlo Thomas sitcom That Girl, but his most memorable role would come in 1980 as the nasty, chauvinistic boss in 9 to 5. He would go on to appear in other films, like On Golden Pond [1981], The Beverly Hillbillies [1993], You've Got Mail [1998], and Moonlight Mile, but the actor found more success in television, appearing on a few cult hits that were tragically cancelled, like Drexell's Class and Madman of the People, as well as The Guardian, Courting Alex, Heartland, and Boardwalk Empire.

Trivia: As a busy juvenile actor, Doug McKeon was featured on the TV serial The Edge of Night, and was co-starred with Brian Dennehy in the 1979 prime-time series Big Shamus, Little Shamus. McKeon was 12 years old when he was honored with a Golden Globe nomination for his work in the TV production Uncle Joe Shannon. His best-known screen assignment was as Henry Fonda's surly step-grandson in the 1981 crowd-pleaser On Golden Pond. McKeon went on to make his last teenage appearance in the 1985 comedy Mischief; that same year, he made his first grown-up appearance as the title character in the TV biopic Heart of a Champion: The Ray Mancini Story. In 1975, Doug McKeon made his Broadway debut in the musical Truckload. In 1983, he stepped in for a vacationing Matthew Broderick in the starring role in Neil Simon's Brighton Beach Memoirs.

Trivia: With his unusual gaunt features and intense expression, William Lanteau made a career out of playing eccentrics and character roles. His role as town leader Chester Wanamaker on the Newhart show was the most visible part in a career of more than 30 years on stage, screen, and television. Lanteau's theatrical credits included productions of The Matchmaker, What Every Woman Knows, Mrs. McThing, The Remarkable Mr. Pennypacker, Detective Story, and Catch My Soul -- he was also in the original stage production of On Golden Pond, playing Charlie Martin, a part he re-created in the film version with Katharine Hepburn, Henry Fonda, and Jane Fonda. His film credits date from 1959 and his portrayal of Available Jones in the screen version of the musical Li'l Abner. He began working in television around the same time, and one of his most memorable and poignant early appearances was in the Andy Griffith Show episode "Stranger in Town," portraying a mysterious new arrival in Mayberry who seems to know all there is to know about everyone in the town, gradually eliciting suspicion and panic on the part of all concerned -- in the end, the explanation for his character's behavior is not only harmless but very touching, and Lanteau pulled it off perfectly, moving from quirkily mysterious to vulnerable in the course of less than 20 minutes of screen time without any seams showing. Lanteau also played small parts in The Honeymoon Machine and That Touch of Mink, and slightly larger roles in Sex and the Single Girl and Hotel, but it was mostly on television that Lanteau kept busy when he wasn't working on the stage. On television, his work included one-shot roles on Naked City, Dr. Kildare, The Man From U.N.C.L.E., Green Acres, The Mothers-In-Law, All in the Family, Here's Lucy, Perry Mason, Sanford and Son, Diff'rent Strokes, Coach, and Murder She Wrote during the 1960s, '70s, and '80s, before the role on Newhart opened up. He became part of one of the most successful "double acts" on television, working alongside rotund actor Thomas Hill, who portrayed Chester, the other political leader of the town. Lanteau passed away in 1993, three years after the cancellation of the series, from complications arising out of heart surgery.

Trivia: The son of actress Jane Fonda and political activist Tom Hayden, Troy Garity has shown interest in both of his parents' professions. (He adopted the surname Garity from his paternal grandmother's side.) As a child, he spent his summers at the Laurel Springs Arts Camp in Santa Barbara and appeared uncredited in On Golden Pond with his mom and grandfather. As an adult, he moved to New York City to study at the American Academy of Dramatic Arts and later to Los Angeles to start a film career. After being named one of People magazine's 50 Most Beautiful People in 1998, he landed the role of his father in Steal This Movie, the historical biopic starring Vincent D'Onofrio as '60s activist Abbie Hoffman. The next year, Garity appeared in Barry Levinson's crime comedy Bandits as a getaway driver for eccentric bank robbers played by Bruce Willis and Billy Bob Thornton. After a few more small-time features, he played token white guy Isaac Rosenberg in Tim Story's urban comedy Barbershop. His breakthrough role came in 2003 with the Showtime movie A Soldier's Girl, based on a true story. He played Pfc. Barry Winchell, a soldier who was beaten to death in 1999 after he fell in love with transsexual Calpernia Addams (Lee Pace). The job earned Garity nominations from both the Golden Globes and the Independent Spirit Awards. the actor starred in the critically acclaimed drama Milwaukee, Minnesota that same year as mentally disabled ice fisherman Albert Burroughs. In addition to continuing involvement with his nonprofit group the Peace Process Network, Garity appeared in the 2004 sequel Barbershop 2.

Trivia: Lead actor, onscreen from the early '80s.