Trivia: The son of a Lithuanian coal miner, American actor Charles Bronson claimed to have spoken no English at home during his childhood in Pennsylvania. Though he managed to complete high school, it was expected that Bronson would go into the mines like his father and many brothers. Experiencing the world outside Pennsylvania during World War II service, however, Bronson came back to America determined to pursue an art career. While working as a set designer for a Philadelphia theater troupe, Bronson played a few small roles and almost immediately switched his allegiance from the production end of theater to acting. After a few scattered acting jobs in New York, Bronson enrolled in the Pasadena Playhouse in 1949. By 1951, he was in films, playing uncredited bits in such pictures as The People Against O'Hara (1951); You're in the Navy Now (1952), which also featured a young bit actor named Lee Marvin; Diplomatic Courier (1952); Bloodhounds of Broadway (1952), as a waiter(!); and The Clown (1953). When he finally achieved billing, it was under his own name, Charles Buchinsky (sometimes spelled Buchinski). His first role of importance was as Igor, the mute granite-faced henchman of deranged sculptor Vincent Price in House of Wax (1953). The actor was billed as Charles Bronson for the first time in Drum Beat (1954), although he was still consigned to character roles as Slavs, American Indians, hoodlums, and convicts. Most sources claim that Bronson's first starring role was in Machine Gun Kelly (1958), but, in fact, he had the lead in 1958's Gang War, playing an embryonic version of his later Death Wish persona as a mild-mannered man who turned vengeful after the death of his wife. Bronson achieved his first fan following with the TV series Man With a Camera (1959), in which he played adventurous photojournalist Mike Kovac (and did double duty promoting the sponsor's camera products in the commercials). His best film role up until 1960 was as one of The Magnificent Seven (1960), dominating several scenes despite the co-star competition of Yul Brynner, Steve McQueen, Eli Wallach, and others. Most of Bronson's film roles after Seven remained in the "supporting-villainy category," however, so, in 1968, the actor packed himself off to Europe, where American action players like Clint Eastwood and Lee Van Cleef were given bigger and better opportunities. Multiplying his international box-office appeal tenfold with such films as Guns for San Sebastian (1967), Once Upon a Time in the West (1968), Cold Sweat (1970), and The Valachi Papers (1971), Bronson returned to Hollywood a full-fledged star at last. His most successful films of the 1970s were Death Wish (1974) and its sequels, a series of brutal "vigilante" pictures which suggested not so subliminally that honest people would ultimately have to dole out their own terminal justice to criminals. In many of his '70s films, Bronson co-starred with second wife Jill Ireland, with whom he remained married until she lost her fight against cancer in 1990. Bronson's bankability subsequently fell off, due in part to younger action stars doing what he used to do twice as vigorously, and because of his truculent attitude toward fans. He did little but television work after 1991's The Indian Runner (Sean Penn's directorial debut), with Death Wish 5: The Face of Death (1994) his only feature since. Bronson's onscreen career would soon draw to a close with his role as law enforcing family patriarch Paul Fein in the made-for-cable Family of Cops series.On August 30, 2003 Charles Bronson died of pneumonia in Los Angeles. He was 81.

Trivia: A dancer from age 12, British performer Jill Ireland became an audience favorite in her teens thanks to her many engagements at the London Palladium. Signed to a Rank Organization contract in 1955, Ireland made her first screen appearance as a ballerina in Oh, Rosalind. In 1957, Ireland married actor David McCallum, with whom she would later appear in several Man From UNCLE TV episodes. Her second husband was action star Charles Bronson, whom she married in 1967. From 1970 onward, Ireland seldom appeared onscreen without her husband; their best collaborative efforts include Hard Times (1975) and From Noon Til Three. Diagnosed with breast cancer in 1984, Ireland underwent a mastectomy, gaining the respect of friends and fans alike for her courage in the face of death: she wrote a book on her recovery, Life Wish, in 1987, and served as chairperson of the National Cancer Society. Ireland then devoted herself to rehabilitating her adopted son Jason McCallum, who had become a drug addict. She penned another book called Life Lines, this one devoted to her struggle to bring her son back to health. His death from an overdose in 1989 weakened Ireland's already precarious physical state. Refusing to surrender to despair, Ireland was busy at work on her third book of reminiscences, Life Times, when she died in 1990. One year later, a TV biopic, Reason for Living: The Jill Ireland Story was telecast, with Jill Clayburgh as Ireland and Lance Henriksen as Charles Bronson (though not so named, as Bronson was dead-set against the film and refused to allow his name to be mentioned onscreen).

Trivia: American actor Davis Roberts played character roles on stage, television, and in feature films for nearly 40 years. Between 1983 and 1984, he had a regular role as a blind bluesman on the television series Boone. He made his final film appearance in To Sleep With Anger. In addition to acting, Roberts served as an advisor for the Western division of the Actor's Equity Association. He also founded the Beverly Hills-Hollywood NAACP Image Award.

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: Bennington College graduate Anne Ramsey married actor Logan Ramsey in 1954; together, they formed Philadelphia's prestigious Theatre of the Living Arts. Despite her many stage credits, Ramsey did not actively pursue a film career during her first two decades as a professional. Put bluntly, she was far from photogenic; thus she decided to hold off working in films until she was as old as she looked. In 1971, she made her film bow, acting opposite her husband in The Sporting Club. She continued essaying minor roles until the 1980s, when tragedy transformed Ramsey into a latter-day star. Suffering from throat cancer, Anne was forced to endure the removal of most of her tongue and jawbone. Thereafter, her performances had a sharp, pit-bull edginess that worked beautifully in such films as Any Which Way You Can (1980) and The Goonies (1985). In 1987, Ramsey was Oscar-nominated for her bravura portrayal of Danny DeVito's monstrous mother in Throw Momma From the Train. Reportedly as salty offscreen as on, Anne Ramsey refused to go gentle into That Good Night, continuing to work in films right up to her death in 1988.

Trivia: Georgia-born and South Carolina-raised American character actor Hoke Howell made a name for himself on Broadway beginning in 1958. He appeared frequently in films and on television from the mid-'70s through the early '90s.

Trivia: A football star in his high school and college days, Donald Barry forsook an advertising career in favor of a stage acting job with a stock company. This barnstorming work led to movie bit parts, the first of which was in RKO's Night Waitress (1936). Barry's short stature, athletic build and pugnacious facial features made him a natural for bad guy parts in Westerns, but he was lucky enough to star in the 1940 Republic serial The Adventures of Red Ryder; this and subsequent appearance as "Lone Ranger" clone Red Ryder earned the actor the permanent sobriquet Donald "Red" Barry. Republic promoted the actor to bigger-budget features in the 1940s, casting him in the sort of roles James Cagney might have played had the studio been able to afford Cagney. Barry produced as well as starred in a number of Westerns, but this venture ultimately failed, and the actor, whose private life was tempestuous in the best of times, was consigned to supporting roles before the 1950s were over. By the late 1960s, Barry was compelled to publicly entreat his fans to contribute one dollar apiece for a new series of Westerns. Saving the actor from further self-humiliation were such Barry aficionados as actor Burt Reynolds and director Don Siegel, who saw to it that Don was cast in prominent supporting roles during the 1970s, notably a telling role in Hustle (1976). In 1980, Don "Red" Barry killed himself -- a sad end to an erratic life and career.

Trivia: No relation to Leonard Bernstein, American film composer Elmer Bernstein was a graduate of the prestigious Juilliard School of Music. He dabbled in all aspects of the arts (including dance) before devoting himself to composing; his first major stint was for United Nations radio. In the early '50s, Bernstein was willing to take any job available just to establish himself -- which possibly explains why his name is on the credits of that "golden turkey" Robot Monster. The composer's big breakthrough came with his progressive jazz score for The Man With the Golden Arm (1955), after which he switched artistic gears with his Wagnerian orchestrations for DeMille's The Ten Commandments (1956). Bernstein's pulsating score for The Magnificent Seven (1960) has since become a classic -- so much so that Bernstein is often mistakenly credited for Jerome Moross' similar theme music for The Big Country (1958). As film tastes changed in the late '60s and early '70s, Bernstein's over-arranged compositions seemed a bit anachronistic, a fact that the composer himself apparently realized, as witnessed by his semi-satirical score for National Lampoon's Animal House (1978). Bernstein remained active throughout the '90s, rearranging Bernard Herrmann's original score for the 1991 remake of Cape Fear, underlining the innate romanticism of such films as Rambling Rose (1991), and earning Oscar nominations for his work on The Age of Innocence (1993) and Far From Heaven (2002). In 1967, Bernstein won his only Academy Award for Thoroughly Modern Millie, for which he wrote only the background music and none of the individual songs.

Trivia: Along with his wife, Marilyn Bergman, lyricist/songwriter Alan Bergman has composed many popular songs -- mostly love songs -- for stage musicals, movies, and television programs; their work has earned them Oscars, Golden Globes, Emmys, and Grammys. Hailing from Brooklyn, Bergman started out directing kiddie shows on television in the early '50s. Much later in the decade he and Marilyn became a songwriting duo and in 1958 married each other. Many major talents of the '60s sang Bergman songs, including Bing Crosby, Barbra Streisand, Sarah Vaughan, and Johnny Mathis. Television scores include Maude (1972-1978) and Good Times (1974-1979). Their scoring for the television outings Queen of the Stardust Ballroom (1975) and Sybil (1976) earned them two Emmys. Some of their best-loved film hits include the haunting "The Windmills of Your Mind" (music composed by Michel Legrand) from The Thomas Crown Affair (1968) and "The Way We Were" (with Marvin Hamlisch) from the 1973 film of the same name.

Trivia: Born and raised in the Greenwich Village section of New York, Douglas Fowley did his first acting while attending St. Francis Xavier Military Academy. A stage actor and night club singer/dancer during the regular theatrical seasons, Fowley took such jobs as athletic coach and shipping clerk during summer layoff. He made his first film, The Mad Game, in 1933. Thanks to his somewhat foreboding facial features, Fowley was usually cast as a gangster, especially in the Charlie Chan, Mr. Moto and Laurel and Hardy "B" films churned out by 20th Century-Fox in the late 1930s and early 1940s. One of his few romantic leading roles could be found in the 1942 Hal Roach "streamliner" The Devil with Hitler. While at MGM in the late 1940s and early 1950s, Fowley essayed many roles both large and small, the best of which was the terminally neurotic movie director in Singin' in the Rain (1952). Fowley actually did sit in the director's chair for one best-forgotten programmer, 1960's Macumba Love, which he also produced. On television, Fowley made sporadic appearances as Doc Holliday in the weekly series Wyatt Earp (1955-61). In the mid-1960s, Fowley grew his whiskers long and switched to portraying Gabby Hayes-style old codgers in TV shows like Pistols and Petticoats and Detective School: One Flight Up, and movies like Homebodies (1974) and North Avenue Irregulars (1979); during this period, the actor changed his on-screen billing to Douglas V. Fowley.