Trivia: An American film director who told stories about independent and adventurous men struggling for their individuality, John Huston led such a life, himself. His hyper-masculine protagonists seemed to stem from his own youthful pursuits as a boxer, competitive horseman, Calvary officer, and major in the U.S. Army. Married five times and divorced four (fourth wife Ricki Soma died in 1969), his reportedly bitter attitude toward women informed his female characters as either weak-willed prizes or seductive threats to manhood. Nevertheless, Huston's unconventional and rambling lifestyle led to some of the most celebrated American cinema, as well as the hub of three generations of Oscar winners. Born in Missouri to noted actor Walter Huston, his family traveled extensively on the vaudeville circuit. After riding horses in Mexico and magazine reporting in New York, the younger Huston secured a job writing dialogue in Hollywood. He started acting and published his first play, Frankie and Johnny, before wandering around London and Paris working as a street performer and artist. Upon his return, he worked as an editor and writer before convincing his employers at Warner Bros. to let him direct his first movie, The Maltese Falcon, in 1941. The popular source novel by mystery author Dashiell Hammett had been filmed twice before, but only Huston's adaptation would be remembered as a prime example of the classic film noir-detective story. It also made a star out of leading man Humphrey Bogart, whom Huston would cast in his next few films: Across the Pacific, Key Largo, and The Treasure of the Sierra Madre. An adventure drama shot in Mexico examining the nature of man's greed, Sierra Madre won him his first Oscar for Best Director and earned his father, Walter Huston, his first for Best Supporting Actor. Continuing to write Hollywood screenplays and make military documentaries for the U.S. War Department, Huston's next big directorial success was in 1950 with the gritty caper film The Asphalt Jungle, another cinematic innovation in the crime genre. This was quickly followed by The African Queen, earning leading man Bogart his first and only Academy award for his role as drunken boat captain Charlie Allnut. Huston's next production, an adaptation of Stephen Crane's The Red Badge of Courage, had a notorious history of production difficulties with MGM. In 1952, his biographical drama of painter Henri de Toulouse-Latrec, Moulin Rogue, won Oscars for art direction and costume design. In 1956, he and co-screenwriter Ray Bradbury conquered a major literary adaptation with Moby Dick, starring Gregory Peck as Captain Ahab. During this time, Huston had found a home for himself in Ireland with his wife and newborn daughter, Anjelica. After he quit during production of A Farewell to Arms, he then tried the African Queen romantic formula again with Heaven Knows, Mr. Allison. In 1961, he directed The Misfits, the tragic last film of both Clark Gable and Marilyn Monroe, co-starring Montgomery Clift (whom Huston would cast in the psychoanalyst title role of his next feature, Freud). Two more adaptations would follow: The List of Adrian Messenger from the mystery novel by Philip MacDonald and The Night of the Iguana from a play by Tennessee Williams. After winning a Golden Globe for his supporting role in Otto Preminger's The Cardinal, Huston did odd acting projects for the next decade and directed A Walk With Love and Death, marking the film debut of daughter Anjelica. In 1974, he gave one of his most notable performances as the villainous Noah Cross in Roman Polanski's Chinatown. Huston made a brief comeback the following year as writer/director of the witty action-adventure saga The Man Who Would Be King, the black comedy Wise Blood, and the Broadway musical adaptation Annie. But his major comeback would be in 1985 with the crime comedy Prizzi's Honor, which earned Anjelica Huston her first Oscar for the supporting role of Maerose. She also starred in her father's last film, The Dead (1987), which was inspired by the James Joyce short story collection Dubliners. Huston died of pneumonia later that year in Newport, RI.

Trivia: Ava Gardner began her career first as a model, then as a contract player at MGM, where her gawky, unsophisticated demeanor was totally made over by the studio into an image of inaccessible glamour. Gardner toiled in tiny bit roles, finally getting a worthwhile one on loan-out to Universal in The Killers (1946). MGM was never very comfortable with the bad-girl persona she displayed so well in this film, and, thus, most of her starring appearances at her home studio were relatively sympathetic roles in The Hucksters (1947) and Show Boat (1951). Her cinema reputation as The World's Most Beautiful Animal (in the words of a '50s publicity campaign) was once again manifested in loan-out movies like Pandora and the Flying Dutchman (1951) and The Snows of Kilimanjaro (1952). MGM eventually came to terms with the elements that made Gardner popular, notably in the gutsy Mogambo (1953), in which she made an excellent partner to the equally earthy Clark Gable. Director George Cukor was much taken by Gardner and cast the actress in her best and most complex MGM role in Bhowani Junction (1956), in which she was torn not only by love but also clashing East Indian cultural values. Gardner was equally well served in The Barefoot Contessa (1954), which, in many ways, was a replay of her own rags-to-riches personal story. The actress was cast in some of her best parts during the '60s, notably in Seven Days in May and Night of the Iguana (both 1964), but the pace of her jet-setting lifestyle and increasing personal problems began to show. With roles and public appearances steadily decreasing, she died on January 25, 1990. She was married and divorced three times -- to Mickey Rooney, Frank Sinatra, and Artie Shaw.

Trivia: One of the finest American actors of his generation, George C. Scott was born in Virginia and raised in Detroit. After serving in the Marines from 1945 to 1949, Scott enrolled at the University of Missouri, determined to become an actor. Though his truculent demeanor and raspy voice would seem to typecast him in unpleasant roles, Scott exhibited an astonishing range of characterizations during his seven years in regional repertory theater. He also found time to teach a drama course at Stephens College. By the time Scott moved to New York in 1957, he was in full command of his craft; yet, because he was largely unknown outside of the repertory circuit, he considered himself a failure. While supporting himself as an IBM machine operator, Scott auditioned for producer Joseph Papp. Cast as the title character in Papp's production of Richard III, Scott finally achieved the stardom and critical adulation that had so long eluded him. Amidst dozens of choice television guest-starring performances, Scott made his movie debut in 1959's The Hanging Tree. That same year, he earned the first of four Oscar nominations for his incisive portrayal of big-city attorney Claude Dancer in Anatomy of a Murder. Over the next few years, Scott appeared in a dizzying variety of roles, ranging from Paul Newman's mercenary manager Bert Gordon in The Hustler (1961) to erudite British detective Anthony Gethryn in The List of Adrian Messenger (1962) to ape-like General "Buck" Turgidson in Dr. Strangelove (1963). After turning down several TV series offers, Scott accepted the role of social director Neil Brock on the David Susskind-produced "relevance" weekly East Side/West Side (1963-1964). He left the series in a huff in early 1964, citing the censorial idiocies of the program's network and sponsors; he also vowed to never again appear in a TV series -- at least until 1987, when the Fox network offered him 100,000 dollars per episode to star in the nonsensical sitcom Mr. President. In 1971, Scott made international headlines by refusing to accept his Best Actor Oscar for his performance in the title role of Patton, deriding the awards ceremony as a "meat parade." Two years later, he turned down an Emmy for his work in the TV adaptation of Arthur Miller's The Price. Curiously, he had no qualms about accepting such honors as the Golden Globe or Canada's Genie Award for the 1980 film The Changeling. Gravitating toward directing, Scott staged both the Broadway and TV productions of The Andersonville Trial, and he also directed two of his films: Rage (1973) and The Savage Is Loose (1974). In 1976, he added singing and dancing to his accomplishments when he starred on Broadway in Sly Fox, a musicalization of Ben Jonson's Volpone. In the '80s, Scott played Fagin in Oliver Twist (1982), Scrooge in A Christmas Carol (1984), and Dupin in The Murders in the Rue Morgue (1987); he also starred in a 1987 TV biopic of Mussolini, and enacted one of the most excruciatingly drawn-out death scenes in television history in The Last Days of Patton (1986). Making his cartoon voice-over debut in the anti-drug TV special Cartoon All-Stars to the Rescue (1988), Scott served up more vocal villainy in the Disney-animated feature The Rescuers Down Under (1990). Not until his later years did he show signs of slowing down; in 1996, while appearing as Henry Drummond in the National Actors Theater production of Inherit the Wind, he suddenly took ill in mid-performance, excused himself, and left the stage, obliging director Tony Randall to take over the part for the balance of the show. He made one of his final appearances in an Emmy-winning performance in the all-star TV remake of 12 Angry Men with Jack Lemmon. Scott was married five times; his third and fourth wife was the distinguished actress Colleen Dewhurst, while wife number five was another stage and film actress, Trish Van Devere. Two of his children, Devon and Campbell, have also pursued acting careers. Scott died on September 22, 1999.

Trivia: Though he once declared, "I hate movies. They're a waste of time," Irish actor Richard Harris built a film career that lasted six decades and withstood a long fallow period in the 1970s and '80s. Often as famous for his offscreen exploits as his acting, Harris nevertheless was lauded for charismatic performances ranging from the tough, inarticulate rugby player in This Sporting Life (1963) to the wry bounty hunter in Unforgiven (1992) and the contemplative emperor in Gladiator (2000). After winning over a new generation of fans with Harry Potter and the Sorcerer's Stone (2001) and Harry Potter and the Chamber of Secrets (2002), Harris passed away in 2002.Born in Limerick, Ireland, Harris was the fifth of nine children. More interested in sports than art, Harris became a top rugby player in his teens. His sports career, however, ended after he came down with tuberculosis at age 19. Bed-ridden for two years, Harris read voraciously to pass the time. Calling his illness the "luckiest thing that ever happened to me," Harris was inspired by his volumes of Samuel Beckett, James Joyce, and Dylan Thomas to pursue a creative profession. Harris left Ireland to study in London, signing up for acting at the London Academy of Music and Dramatic Arts in 1956 after he failed to find good classes in directing; he also joined the more experimental Theatre Workshop. Harris made his professional stage debut in The Quare Fellow in 1956, earning praise from Method guru Lee Strasberg. Spending the next few years on the stage, Harris appeared in Arthur Miller's A View From the Bridge and became a theater star with his turn as a drunken Dublin student in The Ginger Man (1959). Branching out to the screen, Harris appeared in the British TV movie The Iron Harp (1958), winning a contract with Associated British Pictures Corp. that lead to his feature debut in Alive and Kicking (1959). Playing Irishmen, Harris appeared alongside Hollywood heavyweights James Cagney in the IRA drama Shake Hands With the Devil (1959), Gary Cooper and Charlton Heston in The Wreck of the Mary Deare (1959), and Robert Mitchum in A Terrible Beauty (1960). After switching accents to play an Australian pilot in the World War II epic The Guns of Navarone (1961), Harris held his own as one of Marlon Brando's mutineers in The Mutiny on the Bounty (1962).Confirming his status as one of the best of the new generation of British rebel actors that included Albert Finney and Tom Courtenay, Harris became an international movie star with This Sporting Life. One of the gritty cycle of "kitchen sink" films, This Sporting Life starred Harris as a miner's son-turned-professional rugby player who achieves success on the field at the expense of his personal life. Along with showcasing Harris' physical prowess, his tough, sensitive performance evoked the tragic anguish of Brando at his 1950s peak. After winning the Best Actor prize at the Cannes Film Festival, Harris received his first Oscar nomination. Rather than be pigeonholed, though, Harris collaborated with This Sporting Life director Lindsay Anderson on the stage production The Diary of a Madman and co-starred as Monica Vitti's lover in Michelangelo Antonioni's 1964 study of upper-middle-class malaise, Red Desert. Harris then (appropriately) co-starred as Charlton Heston's nemesis in Sam Peckinpah's butchered-cavalry epic, Major Dundee (1965). Devoting himself full-time to movies by the mid-'60s, Harris appeared with Kirk Douglas in Anthony Mann's World War II yarn The Heroes of Telemark (1965), joined the cast of island epic Hawaii (1966), raised Cain in The Bible (1966), and co-starred with Doris Day as spies caught up in a mod web of intrigue and romance in Caprice (1967). In still another change of pace, Harris tried his hand at musicals and became a dashing King Arthur in the film version of Camelot (1967). He subsequently scored a hit single in 1968 with his version of "MacArthur Park." Always a fancier of the pubs, Harris descended into alcoholism after his first marriage ended in divorce in 1969. Rebounding professionally from the disappointing biopic Cromwell (1970) and the intermittently engaging The Molly Maguires (1970), Harris scored a box-office hit with the sleeper Western A Man Called Horse (1970). Starring Harris as a British aristocrat captured and then embraced by the Sioux after a then-notably gory initiation, A Man Called Horse found a large audience for its pro-Indian sympathies and macho rituals, spawning two less-popular sequels The Return of a Man Called Horse (1976) and Triumphs of a Man Called Horse (1983). Returning to his original career goals, Harris stepped behind the camera to direct and write, as well as star as an aging soccer player in, The Hero (1971). As the 1970s went on, however, Harris' well-publicized hell-raising with famous drinking buddies Peter O'Toole and Richard Burton became more entertaining than his movies. Summing up the period as "drifting from one piece of crap to another," Harris funded his offscreen antics with such works as The Deadly Trackers (1973), Ransom (1974), Orca: The Killer Whale (1977), The Ravagers (1979), and The Bloody Avengers (1980). The Wild Geese (1978), at least, featured Burton as Harris' onscreen co-star, while Juggernaut (1974) and The Cassandra Crossing (1976) were mildly engaging disaster thrillers. Plunging to his career low in the early '80s with his appearance as Bo Derek's father in the risible Tarzan, the Ape Man (1981), and experiencing personal lows with his divorce from second wife Ann Turkel and dire warnings about his health, Harris quit drinking and took a sabbatical from movies. He published the novel Honor Bound in 1982.Still, Harris continued to perform during the 1980s, reprising his role as King Arthur in the touring company of Camelot. After he showed that he still had his serious acting chops in a 1989 production of Pirandello's play Henry IV, Harris recovered his film actor credentials with The Field (1990). Though the film received a limited release, Harris' commanding performance as tenant farmer Bull McCabe earned the actor his second Oscar nomination. Harris was back for good with his lively turn as an IRA gunman in the summer blockbuster Patriot Games (1992) and his self-mythologizing bounty hunter English Bob in Clint Eastwood's Oscar-winning Western Unforgiven. Harris garnered still more positive reviews for his performances opposite Robert Duvall in the amiable character study Wrestling Ernest Hemingway (1993), and as a South African landowner in the remake of Cry, the Beloved Country (1995). Though his stint with Camelot had made him a fortune and he preferred hanging out at the local pub (imbibing his Guinness in moderation) to going Hollywood, Harris refused to retire as the 1990s went on, appearing in the adaptation of Smilla's Sense of Snow (1997) and To Walk With Lions (1999). Bringing a majestic gravitas to a cameo role, Harris earned Oscar buzz (though unfulfilled) for his Marcus Aurelius in Gladiator. Acquiescing to his granddaughter's wishes, Harris subsequently accepted another blockbuster project and agreed to play Albus Dumbledore in Harry Potter and the Sorcerer's Stone and Harry Potter and the Chamber of Secrets. After shooting the Potter movies, Harris delivered a final superb performance as a gangster King Lear in My Kingdom (2001). Though he predicted that he'd recover in time to begin the third Potter movie, Harris passed away from Hodgkin's disease in October 2002. He was survived by his three sons, actors Jared Harris and Jamie Harris, and director Damian Harris.

Trivia: Irish-born Stephen Boyd was performing on stage since his preteen years. Migrating to Canada in the 1940s, Boyd acted in stock and on radio on both sides of the U.S./Canada border. After several lean years, Boyd got his movie break in the 1955 British comedy An Alligator Named Daisy. His powerful portrayal of the treacherous Messala in 1959's Ben-Hur proved to be Boyd's career peak. Few of his subsequent movie assignments came within shouting distance of Messala. Cast as Marc Antony in 1963's Cleopatra, Boyd was forced by prior commitments to defer the role to Richard Burton; and though top-billed in 1966's Fantastic Voyage, Boyd was compelled to play second fiddle to the film's remarkable special effects. In 1977, Stephen Boyd suffered a fatal heart attack while playing golf.

Trivia: Brando-esque leading man Michael Parks was one of five children of an itinerant laborer. Like the rest of his family, Parks drifted from job to job in his early teens, briefly marrying at 15. When he wasn't nickel-and-diming it as a migrant worker, Parks acted with amateur theater groups up and down the California coast. Discovered by an agent in 1960, Parks was signed to a Universal contract, spending most of his time on suspension due to his ornery outspokenness. He settled down long enough to play an au naturel Adam in John Huston's The Bible (1966) and to star as a young motorcyclist in search of the Real America on the 1969 TV series Then Came Bronson. Parks astonished his anti-establishment fans in 1968 when he supported George Wallace for the presidency. Parks' film appearances since then have been confined to second-string productions, though he managed to attract attention in 1977 by portraying Bobby Kennedy in The Private Files of J. Edgar Hoover. In 1990, Parks co-produced as well as starred in Caged Fury, though it was his turn as Canadian mobster Jean Renault in David Lynch's Twin Peaks that offered him the most exposure that year. Numerous film and television roles followed, and in 1996 director Quentin Tarantino gave Parks a career-boost by casting him in the violent horror/crime hybrid From Dusk Till Dawn (a role that the actor would reprise in Kill Bill, Vol. 1, Death Proof, and Planet Terror). A turn as the volatile leader of a religious cult in Kevin Smith's Red State capitalized on Parks' intense onscreen charisma, and in 2012 he could be spotted in director Ben Affleck's Argo. And though the documentary Kevin Smith: Burn in Hell found the outspoken Clerks director jokingly chiding "View Askewniverse" veteran Affleck for "cherry-picking" Parks on the strength of his Red State performance, few would deny that the talented Parks would have likely won the role on his own merit. Parks died in 2017, at age 77.

Trivia: The legendary Irish-born thespian Peter O'Toole proves that when an actor is faced with a bitter personal crisis and struggles with addiction, spirit and determination can often lead to a forceful "third act" in that performer's career that rivals anything to have preceded it. Blessed with an immensity of dramatic power, the fair-haired, blue-eyed, flamboyant, and virile O'Toole chalked up one of the most formidable acting resumes of the 20th century during the 1950s and '60s, before experiencing an ugly bout of self-destruction in the mid-'70s that led to serious health problems, several disappointing and embarrassing roles, and the destruction of his marriage, and threatened (in the process) to bury his career. By 1980, however, O'Toole overcame his problems and resurfaced, triumphantly, as a box-office star.O'Toole began life in Connemara, Ireland, in either 1932 or 1933 (most sources list his birthdate as August 2, 1932, though the year is occasionally disputed). His family moved to Leeds, England in the early '30s, where O'Toole's father earned his keep as a racetrack bookie. Around 1946, 14-year-old O'Toole dropped out of secondary school and signed on with The Yorkshire Evening Post as copy boy, messenger, and eventually, a cub reporter. Within three years, he dropped the newspaper gig and joined the Leeds Civic Theatre as a novice player; this paved the way for ongoing parts at the much-revered Old Vic (after O'Toole's military service in the Royal Navy as a signalman and decoder), beginning around 1955. A half-decade of stage roles quickly yielded to screen parts in the early '60s. O'Toole actually debuted (with a bit role) in 1959, in The Savage Innocents, but international fame did not arrive for a few years, with several enviable back-to-back characterizations in the 1960s: that of the gallant, inscrutable T.E. Lawrence in Sir David Lean's 1962 feature Lawrence of Arabia (for which he received his first Best Actor Oscar nomination); Henry II in Peter Glenville's 1964 Becket (starring longtime friend Richard Burton), for which he received his second Best Actor Oscar nomination; the title character in Lord Jim (1965), and philandering fashion editor Michael James in the popular Clive Donner-Woody Allen sex farce What's New Pussycat? (1965). O'Toole's success continued, unabated, with yet another appearance as Henry II alongside Katharine Hepburn in Anthony Harvey's The Lion in Winter (1968), which netted him a third Best Actor Oscar nod. Unfortunately, O'Toole lost yet again, this time (in a completely unexpected turn of events) to Cliff Robertson in Charly, though a fourth nomination was only a year away, for the actor's work in 1969's Goodbye, Mr. Chips. The early 1970s were equally electric for O'Toole, with the highlight undoubtedly being his characterization of a delusional mental patient who thinks he's alternately Jesus Christ and Jack the Ripper in The Ruling Class (1972), Peter Medak's outrageous farce on the "deific" pretensions of British royalty. That gleaned O'Toole a fifth Oscar nomination; Jay Cocks, of Time Magazine called his performance one "of such intensity that it will haunt memory. He is funny, disturbing, and finally, devastating." Unfortunately, this represented the last high point of his career for many years, and the remainder of the '70s were marred by a series of disappointing and best-forgotten turns -- such as Don Quixote in Arthur Hiller's laughable musical Man of La Mancha (1972), covert CIA agent Larry Martin in Otto Preminger's spy thriller Rosebud (1975), and a Romanian émigré and refugee in Arturo Ripstein's soaper Foxtrot (1976). Meanwhile, O'Toole's off-camera life hit the nadir to end all nadirs. Though long known as a carouser (with friends and fellow Brits Burton, Richard Harris, Peter Finch, and others), O'Toole now plunged into no-holds-barred alcoholism, pushing himself to the very edge of sanity and death. The drinking necessitated major stomach surgery, and permanently ended his 20-year-marriage to Welsh actress Sian Phillips (best known as Livia in I, Claudius). Career-wise, O'Toole scraped the bottom of the gutter (and then some) when he made the foolish decision (around 1976 or 1977) to appear alongside Malcolm McDowell and Helen Mirren in the Bob Guccione/Tinto Brass Penthouse mega-production Caligula (released 1980) -- a period film wall-to-wall with hardcore sex and visceral, graphic violence that led celebrity critic Roger Ebert to echo another viewer's lament: "This movie is the worst piece of s*** I have ever seen." It did not help matters when O'Toole returned to The Old Vic not long after, and was roundly booed off the stage for his uncharacteristically wretched portrayal of Macbeth. The Macbeth calamity, however, masked a slow return to triumph, for O'Toole had since resolved to clean himself up; he moved in with Kate and Pat O'Toole, his two actress daughters from his marriage to Phillips, both of whom were teenagers in the late 1970s, and both of whom cared for him. And in 1979, he signed on to play one of the most esteemed roles of his career -- that of the sadistic, tyrannical director Eli Cross in Richard Rush's wicked black comedy The Stunt Man (1980) -- a role for which O'Toole received a sixth Oscar nomination. O'Toole again lost the bid, this time to Robert De Niro in Raging Bull. Not one to be daunted, however, the actor continued down the path to full professional and personal recovery by beginning an ongoing relationship with California model Karen Brown, and fathering a child by her in 1983. O'Toole then signed on for many fine roles throughout the 1980s and '90s: that of Alan Swann, a hard-drinking, hard-loving, has-been movie star, in Richard Benjamin's delightfully wacky 1982 film My Favorite Year (which drew the thesp yet another nomination for Best Actor -- his seventh); and as Professor Harry Wolper, a scientist obsessively trying to re-clone his deceased wife, in Ivan Passer's quirky, underrated romantic fantasy Creator (1985). Despite occasional lapses in taste and quality, such as 1984's Supergirl and 1986's Club Paradise, O'Toole was clearly back on top of his game, and he proved it with an admirable turn as Reginald Johnston in Bernardo Bertolucci's 1987 Best Picture winner, The Last Emperor. That same year, O'Toole signed on to co-star in High Spirits (1988), fellow Irishman Neil Jordan's whimsical, spiritual ghost story with Shakespearean overtones. At the time, this looked like a solid decision, but neither Jordan nor O'Toole nor their co-stars, Steve Guttenberg, Liam Neeson, and Daryl Hannah, could have anticipated the massive studio interference that (in the words of Pauline Kael) "whacked away at the film, removing between 15 and 25 percent of the footage" and turned it into one of that year's biggest flops. Ditto with Alejandro Jodorowsky's 1990 comedy fantasy The Rainbow Thief, where studio interference again all but destroyed the work.O'Toole remained active throughout the 1990s, largely with fine supporting roles, such as Willingham in King Ralph (1991), Welsh nobleman Lord Sam in Rebecca's Daughters (1992), Bishop Cauchon in the made-for-television Joan of Arc (1999), and Von Hindenburg in the telemovie Hitler: The Rise of Evil (2003). In late 2006, O'Toole hit another career peak with a fine turn as a wily old thesp who enjoys a last-act fling with a twentysomething admirer, in the Roger Michell-directed, Hanif Kureishi-scripted character-driven comedy Venus. The effort reeled in an eighth Best Actor Oscar nomination for the actor. In 2007 he voiced the part of the critic in Pixar's Ratatouille, and in 2008 he joined the cast of The Tudors playing Pope Paul III. He played a priest in 2012's For Greater Glory and filmed a role for Katherine of Alexandria (2014) before he died at age 81 in 2013.

Trivia: Despite the number of Italian actors who fluctuated with ease between stage and screen work in the 1940s, there still was an onus attached to movies in some circles. Thus it was that young, aspiring leading man Gabriele Ferzetti was expelled from Rome's Accademia d'Arte Drammatica when he accepted a screen test in 1942. Once established as a star in such films as Fabiola (1948) and The Sins of Casanova (1952), however, Ferzetti had no difficulty securing theatrical work. His haughtily aristocratic features were displayed to utmost advantage in his bored-socialite role in Antonioni's L'Avventura (1959). In later years, Gabrielle Ferzetti was often cast as charmingly disreputable types, such as railroad baron Morgan in Leone's Once Upon a Time in the West (1969) and international gangster Draco in the James Bond opus On Her Majesty's Secret Service (1969). He continued to act through the 2000s, before dying in 2015, at age 90.

Trivia: Italian actress Pupella Maggio made her acting debut as a one-year-old, lying in the cradle for a production of the play La Pupa movibile, with Eduardo Scarpetti's theatrical troupe. When she became an adult, she went back to work for the same company, while also making her mark with several other theaters around the country. The bulk of accolades lie within the realm of the theater, but she made many impressive appearances throughout in her film work, as well. She died in late 1999, at the age of 89.