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: American actress Eileen Brennan was the daughter of Jean Manahan, a moderately successful silent screen actress. Brennan studied at both Georgetown University and the American Academy of Dramatic Art before making her mark as star of the 1959 off-Broadway musical Little Mary Sunshine. Brennan was among the first-season stars of TV's Rowan and Martin's Laugh-In, essentially doing hilarious variations of her simpering "Mary Sunshine" persona. With her 1970s film appearances in The Last Picture Show (1971), The Sting (1972) and Hustle (1974) came the world-weary, hard-bitten characterizations with which she built her movie following. She was nominated for an Oscar for her expert interpretation of an army sergeant in Goldie Hawn's Private Benjamin (1980), then recreated the role for the 1981 TV sitcom version of this film (which won her an Emmy). While filming the TV Benjamin, Brennan was seriously injured in a car accident. The recovery was long and painful, but by 1985 she was back at work, as caustic as ever in recent films as Clue (1985), White Palace (1991) and the Last Picture Show sequel Texasville (1990). She continued to work steadily in a variety of projects including Murder So Sweet and 1995's Freaky Friday. She also made guest appearances on various T shows including Murder, She Wrote, E/R, Mad About You, and Touched By an Angel. In the 21st century she could be seen in Jeepers Creepers and Miss Congeniality 2: Armed and Fabulous. Brennan passed away in 2013. She was 80 years old.

Trivia: Short-statured, pokerfaced nightclub comic John Byner rose to fame during the 1966 edition of TV's The Garry Moore Show. Byner went on to join the supporting ensemble on the 1967 summer-replacement weekly The Steve Allen Comedy Hour, and five years later headlined his own five-week summer series. He has appeared as a regular on the TV sitcoms The Practice (1976) and Soap (1977), and can be spotted in such lampoonish theatrical films as Transylvania 6-5000 (1985). An accomplished impressionist -- he provided the voice for the Jackie Mason-ish aardvark in DePatie-Freleng's Ant and the Aardvark cartoon shorts -- one of Byner's most enduring routines concerns a bad impressionist, whose concept of Walter Brennan consists of kicking the left leg in the air and screeching "Luke, the barn! Luke, the barn!" A Las Vegas headliner into the 1990s, John Byner's TV contributions have included a stint as host of a series of Bowery Boys films on the A&E cable network.

Trivia: Robert Englund began his acting training at age 12, taking drama courses at the University of Oakland, U.C.L.A., California State-Northridge, the Michigan Academy of Dramatic Arts, and the Rochester, NY, branch of R.A.D.A. Englund made his first professional appearance in a Cleveland production of Godspell. His first film role was the bumptious backwoodsman Whitey in Buster and Billie (1974), after which he paid his dues in a series of villainous bit parts: shooting down Burt Reynolds at the end of Hustle (1975); beating up Kris Kristofferson in A Star is Born (1976); and so on. In 1984, he was cast as Willie, one of the few sympathetic Earth-invading extraterrestrials in the sci-fi TV miniseries V.Impressed by this performance, director Wes Craven buried Englund under several layers of latex and collodion and cast him as malevolent, mass-murdering wraith Freddy Krueger in A Nightmare on Elm Street (1984). The actor became an instant star, appearing in five Nightmare sequels, hosting a 1988 television spin-off, and basking in the glow of a plenitude of fan clubs. Although Freddy's only redeeming quality was his morbid sense of humor, Englund became an idol to the young, who emulated the actor each Halloween donning Freddy masks and plastic claws. Far from concerned that this idolatry might lead to delinquency, Englund allowed that he enjoyed playing Freddy, and felt pride at having created so memorable a screen persona. (In all fairness, he also emphasized to his most impressionable fans that it was all play-acting, and that his homicidal tendencies were strictly confined to the screen.) Unlike such horror icons of the past as Boris Karloff and Vincent Price, however, Englund was not able to shed his famous character's image when he wanted to move on to other roles. Outside of his Nightmare appearances, Englund's most significant credits were his one-shot directorial stint on the theatrical feature 976-EVIL (1988); his characterization of the title role in a medium-budget film adaptation of Phantom of the Opera (1989); and his hosting chores on the Craven-produced TV anthology Nightmare Café (1992).

Trivia: An alumnus of the Yale School of drama, American actor Austin Pendleton was lucky enough to latch onto a starmaking stage role relatively early in life. Pendleton was the first performer to play the part of tailor Motel Kamzoil in the evergreen musical Fiddler on the Roof, in which he had one of the play's best non-Tevye songs, "Miracle of Miracles." Hollywood has been less generous to Pendleton in terms of good roles. He was cast in a supporting role in Skidoo (1968), a smash miss frequently cited as the worst film in the careers of most of its participants (Jackie Gleason, Groucho Marx, Carol Channing, Otto Preminger, et al.) He was shown to better advantage in What's Up, Doc? (1972), while in The Front Page (1974) he sparkled as a condemned killer plagued by a bad head cold on the eve of his execution. A first-rate character player, Austin Pendleton has never quite scaled the heights of stardom in films, though his theatre work as both actor and director has always been critically lauded.

Trivia: Simply by growing old gracefully, actress Susan Sarandon has defied the rules of Hollywood stardom: Not only has her fame continued to increase as she enters middle age, but the quality of her films and her performances in them has improved as well. Ultimately, she has come to embody an all-too-rare movie type -- the strong and sexy older woman. Born Susan Tomalin on October 4, 1946, in Queens, NY, she was the oldest of nine children. Even while attending the Catholic University of America, she did not study acting, and in fact expressed no interest in performing until after marrying actor Chris Sarandon. While accompanying her husband on an audition, Sarandon landed a pivotal role in the controversial 1970 feature Joe, and suddenly her own career as an actress was well underway. She soon became a regular on the daytime soap opera A World Apart and in 1972 appeared in the feature Mortadella. Lovin' Molly and The Front Page followed in 1974 before Sarandon earned cult immortality as Janet Weiss in 1975's camp classic The Rocky Horror Picture Show, the quintessential midnight movie of its era. After starring with Robert Redford in 1975's The Great Waldo Pepper, Sarandon struggled during the mid-'70s in a number of little-seen projects, including 1976's The Great Smokey Roadblock and 1978's Checkered Flag or Crash. Upon beginning a relationship with the famed filmmaker Louis Malle, however, her career took a turn for the better as she starred in the provocative Pretty Baby, portraying the prostitute mother of a 12-year-old Brooke Shields. Sarandon and Malle next teamed for 1980's superb Atlantic City, for which she earned her first Oscar nomination. After appearing in Paul Mazursky's Tempest, she then starred in Tony Scott's controversial 1983 horror film The Hunger, playing a scientist seduced by a vampire portrayed by Catherine Deneuve. The black comedy Compromising Positions followed in 1985, as did the TV miniseries Mussolini and I. Women of Valor, another mini, premiered a year later. While Sarandon had enjoyed a prolific career virtually from the outset, stardom remained just beyond her grasp prior to the mid-'80s. First, a prominent appearance with Jack Nicholson, Cher, and Michelle Pfeiffer in the 1986 hit The Witches of Eastwick brought her considerable attention, and then in 1988 she delivered a breakthrough performance in Ron Shelton's hit baseball comedy Bull Durham, which finally made her a star, at the age of 40. More important, the film teamed her with co-star Tim Robbins, with whom she soon began a long-term offscreen relationship. After a starring role in the 1989 apartheid drama A Dry White Season, Sarandon teamed with Geena Davis for Thelma and Louise, a much-discussed distaff road movie which became among the year's biggest hits and won both actresses Oscar nominations. Sarandon was again nominated for 1992's Lorenzo's Oil and 1994's The Client before finally winning her first Academy Award for 1995's Dead Man Walking, a gut-wrenching examination of the death penalty, adapted and directed by Robbins. Now a fully established star, Sarandon had her choice of projects; she decided to lend her voice to Tim Burton's animated James and the Giant Peach (1996). Two years later, she was more visible with starring roles in the thriller Twilight (starring opposite Paul Newman and Gene Hackman) and Stepmom, a weepie co-starring Julia Roberts. The same year, she had a supporting role in the John Turturro film Illuminata. Sarandon continued to stay busy in 1999, starring in Anywhere But Here, which featured her as Natalie Portman's mother, and Cradle Will Rock, Robbins' first directorial effort since Dead Man Walking. On television, Sarandon starred with Stephen Dorff in an adaptation of Anne Tyler's Earthly Possessions, and showed a keen sense of humor in her various appearances on SNL, Chappelle's Show, and Malcolm in the Middle. After starring alongside Goldie Hawn in The Banger Sisters, Sarandon could be seen in a variety of projects including Alfie (2004), Romance and Cigarettes (2005), and Elizabethtown (2006). In 2007, Sarandon joined Rachel Weisz and Mark Wahlberg in The Lovely Bones, director Peter Jackson's adaptation of Alice Sebold's novel of the same name. She continued her heavy work schedule into the 2010s- in 2012 alone, the actress took on the role of a long-suffering mother to two grown sons in various states of distress for Jeff, Who Lives at Home, appeared as an older version of a character played by her daughter, Eva Amurri Martino, in That's My Boy and played a variety of supporting roles in the Wachowskis' Cloud Atlas. The following year found her in the crime drama Snitch, the ensemble rom-com The Big Wedding and in the Errol Flynn biopic The Last of Robin Hood. In 2014, she played Melissa McCarthy's grandmother (despite the fact that the actresses are only 24 years apart in age) in Tammy. She made a cameo appearance, as herself, in Zoolander 2 (2016).

Trivia: Melanie Mayron trained at the American Academy of Dramatic Arts, then studied with Sandra Seacat and Lohn Lehne. She debuted in a touring production of Godspell which ran for three years, and gained a small supporting role in Paul Mazursky's Harry and Tonto (1974). Since then she has divided her time between stage, screen, and TV work. For her performance in Girlfriends (1978), she won the Best Actress Award at the 1979 Locarno Film Festival; also in 1979, she made her New York stage debut, in The Goodbye People. In the late '80s she teamed up with Catlin Adams to write and produce films; their work has included the film Sticky Fingers (1988) and the TV movies Tunes for a Small Harmonica and The Pretend Game. She is best-known as a co-star of the TV series thirtysomething, for which she won an Emmy in 1989.

Trivia: The peak popularity of American actress Leigh French came and went with the Psychedelic '60s. French rose to prominence in the "Share a Little Tea with Goldie" segment on the 1967-68 season of TV's The Smothers Brothers Comedy Hour. As Goldie, a laid-back hippie type, French delivered a weekly monologue laced with references to sex and drugs and drugs and drugs. While this routine got loud and knowing laughter in the '60s, it's a bit on the politically incorrect side nowadays, thus many of French's sequences were carefully pruned when the E! cable channel reran Smothers Brothers in 1993. Nonetheless, French, looking none the worse for the passing years, gracefully appeared on E! to recall her participation on the series. As for her post-Smothers Brothers performing career, Leigh French could be seen in funny-funky roles in such films as WUSA (1970), Norwood (1970), The Drowning Pool (1975) and Hollywood Knights (1980); she was also a TV regular on the 1975 edition of The Dick Cavett Show.

Trivia: Widely beloved by television viewers for his memorable stint on the popular late-'70s sitcom WKRP in Cincinnati, longtime actor Gary Sandy has had a rich career both before and after the show that found him nationwide fame. From stage to screen and virtually everything in between, Sandy proved equally adept at comedy, drama, and even musicals. Born in Dayton, OH, in 1945, Sandy discovered his love of acting early in life. Attending Wilmington College in Ohio before pursuing his dreams at New York's American Academy of Dramatic Arts, a role on the long-running soap opera As the World Turns gave Sandy his first chance to shine in a role created specifically for him. Villainous roles in such daytime dramas as Somerset and Another World quickly followed, and, in 1971, Sandy made his feature debut in the social drama Some of My Best Friends Are.... Simultaneously finding off-Broadway success in such productions as The Children's Mass, it was only a matter of time before the bright lights of Broadway came calling and Sandy was cast in the Franco Zeffirelli-directed production of Saturday, Sunday, Monday. In the following years, Sandy belted out tunes in such plays-turned-Broadway musicals as Sheba (from Come Back, Little Sheba), Luv, and Windy City (from The Front Page). It was during this time that roles in such small-screen features as Shell Game and The Kansas City Massacre found him increasingly recognizable to audiences nationwide. In 1978, he was cast in the role of station manager Andy Travis in the classic sitcom WKRP in Cincinnati. As with many sitcom stars, the role would ultimately make it difficult for him to find work due to people associating Sandy too closely with his television counterpart when the show ended a successful four-year run in 1982. But two things that separated him from the pack: his talents on the stage and his marked determination to break the curse of typecasting. While subsequent appearances on Murder, She Wrote, Diagnosis Murder, and Martial Law found Sandy continuing on the small screen, feature roles in such efforts as the Oscar-nominated The Insider and a coast-to-coast tour of The Best Little Whorehouse in Texas found the dedicated actor remaining in the public eye while staying true to his craft. In 2004, Sandy was featured in the television family drama Til' the River Runs Dry.

Trivia: Actress/screenwriter Valerie Curtin began her acting career on the New York stage, making her film bow as Vera in 1975's Alice Doesn't Live Here Anymore. Seldom rising above the supporting-player ranks, Curtin has been more artistically satisfied by her scriptwriting work, winning an Oscar nomination for 1979's ...And Justice For All. This project, like many others, was a collaborative effort between Curtin and her director/writer husband Barry Levinson. Valerie Curtin's TV work has included a season as a regular on the comedy variety series The Jim Stafford Show (1975), and the regular role of Judy Bernley on the 1982 sitcom version of the feature film 9 to 5 (the same role played by Jane Fonda in the original movie). Curtin is the daughter of Joseph Curtin, a radio actor best known for his portrayal of Nick Charles on The Adventures of the Thin Man and of Peter Galway on the daytime serial Our Gal Sunday. She is also the cousin of Saturday Night Live veteran Jane Curtin.

Trivia: Actor Dub Taylor, the personification of grizzled old western characters, has been entertaining viewers for over 60 years. Prior to becoming a movie actor, Taylor played the harmonica and xylophone in vaudeville. He used his ability to make his film debut as the zany Ed Carmichael in Capra's You Can't Take it With You (1938). He next appeared in a small role in the musical Carefree(1938) and then began a long stint as a comical B-western sidekick for some of Hollywood's most enduring cowboy heroes. During the '50s he became a part of The Roy Rogers Show on television. About that time, he also began to branch out and appear in different film genres ranging from comedies, No time for Sergeants (1958) to crime dramas, Crime Wave (1954). He has also played on other TV series such as The Andy Griffith Show and Please Don't Eat the Daisies. One of his most memorable feature film roles was as the man who brought down the outlaws in Bonnie and Clyde. From the late sixties through the nineties Taylor returned to westerns.