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: Arguably the most popular -- and certainly the busiest -- movie leading man in Hollywood history, John Wayne entered the film business while working as a laborer on the Fox lot during summer vacations from U.S.C., which he attended on a football scholarship. He met and was befriended by John Ford, a young director who was beginning to make a name for himself in action films, comedies, and dramas. Wayne was cast in small roles in Ford's late-'20s films, occasionally under the name Duke Morrison. It was Ford who recommended Wayne to director Raoul Walsh for the male lead in the 1930 epic Western The Big Trail, and, although it was a failure at the box office, the movie showed Wayne's potential as a leading man. During the next nine years, be busied himself in a multitude of B-Westerns and serials -- most notably Shadow of the Eagle and The Three Mesquiteers series -- in between occasional bit parts in larger features such as Warner Bros.' Baby Face, starring Barbara Stanwyck. But it was in action roles that Wayne excelled, exuding a warm and imposing manliness onscreen to which both men and women could respond. In 1939, Ford cast Wayne as the Ringo Kid in the adventure Stagecoach, a brilliant Western of modest scale but tremendous power (and incalculable importance to the genre), and the actor finally showed what he could do. Wayne nearly stole a picture filled with Oscar-caliber performances, and his career was made. He starred in most of Ford's subsequent major films, whether Westerns (Fort Apache [1948], She Wore a Yellow Ribbon [1949], Rio Grande [1950], The Searchers [1956]); war pictures (They Were Expendable [1945]); or serious dramas (The Quiet Man [1952], in which Wayne also directed some of the action sequences). He also starred in numerous movies for other directors, including several extremely popular World War II thrillers (Flying Tigers [1942], Back to Bataan [1945], Fighting Seabees [1944], Sands of Iwo Jima [1949]); costume action films (Reap the Wild Wind [1942], Wake of the Red Witch [1949]); and Westerns (Red River [1948]). His box-office popularity rose steadily through the 1940s, and by the beginning of the 1950s he'd also begun producing movies through his company Wayne-Fellowes, later Batjac, in association with his sons Michael and Patrick (who also became an actor). Most of these films were extremely successful, and included such titles as Angel and the Badman (1947), Island in the Sky (1953), The High and the Mighty (1954), and Hondo (1953). The 1958 Western Rio Bravo, directed by Howard Hawks, proved so popular that it was remade by Hawks and Wayne twice, once as El Dorado and later as Rio Lobo. At the end of the 1950s, Wayne began taking on bigger films, most notably The Alamo (1960), which he produced and directed, as well as starred in. It was well received but had to be cut to sustain any box-office success (the film was restored to full length in 1992). During the early '60s, concerned over the growing liberal slant in American politics, Wayne emerged as a spokesman for conservative causes, especially support for America's role in Vietnam, which put him at odds with a new generation of journalists and film critics. Coupled with his advancing age, and a seeming tendency to overact, he became a target for liberals and leftists. However, his movies remained popular. McLintock!, which, despite well-articulated statements against racism and the mistreatment of Native Americans, and in support of environmentalism, seemed to confirm the left's worst fears, but also earned more than ten million dollars and made the list of top-grossing films of 1963-1964. Virtually all of his subsequent movies, including the pro-Vietnam War drama The Green Berets (1968), were very popular with audiences, but not with critics. Further controversy erupted with the release of The Cowboys, which outraged liberals with its seeming justification of violence as a solution to lawlessness, but it was successful enough to generate a short-lived television series. Amid all of the shouting and agonizing over his politics, Wayne won an Oscar for his role as marshal Rooster Cogburn in True Grit, a part that he later reprised in a sequel. Wayne weathered the Vietnam War, but, by then, time had become his enemy. His action films saw him working alongside increasingly younger co-stars, and the decline in popularity of the Western ended up putting him into awkward contemporary action films like McQ (1974). Following his final film, The Shootist (1976) -- possibly his best Western since The Searchers -- the news that Wayne was stricken ill with cancer (which eventually took his life in 1979) wiped the slate clean, and his support for the Panama Canal Treaty at the end of the 1970s belatedly made him a hero for the left. Wayne finished his life honored by the film community, the U.S. Congress, and the American people as had no actor before or since. He remains among the most popular actors of his generation, as evidenced by the continual rereleases of his films on home video.

Trivia: The day after 79-year-old Robert Mitchum succumbed to lung cancer, beloved actor James Stewart died, diverting all the press attention that was gearing up for Mitchum. So it has been for much of his career. Not that Mitchum wasn't one of Hollywood's most respected stars, he was. But unlike the wholesome middle-American idealism and charm of the blandly handsome Stewart, there was something unsettling and dangerous about Mitchum. He was a walking contradiction. Behind his drooping, sleepy eyes was an alert intelligence. His tall, muscular frame, broken nose, and lifeworn face evoked a laborer's life, but he moved with the effortless, laid-back grace of a highly trained athlete. Early in his career critics generally ignored Mitchum, who frequently appeared in lower-budget and often low-quality films. This may also be due in part to his subtle, unaffected, and deceptively easy-going acting style that made it seem as if Mitchum just didn't care, an attitude he frequently put on outside the studio. But male and female audiences alike found Mitchum appealing. Mitchum generally played macho heroes and villains who lived hard and spoke roughly, and yet there was something of the ordinary Joe in him to which male audiences could relate. Women were drawn to his physique, his deep resonant voice, his sexy bad boy ways, and those sad, sagging eyes, which Mitchum claimed were caused by chronic insomnia and a boxing injury. He was born Robert Charles Duran Mitchum in Bridgeport, CT, and as a boy was frequently in trouble, behavior that was perhaps related to his father's death when Mitchum was quite young. He left home in his teens. Mitchum was famous for fabricating fantastic tales about his life, something he jokingly encouraged others to do too. If he is to be believed, he spent his early years doing everything from mining coal, digging ditches, and ghost writing for astrologer Carroll Richter, to fighting 27 bouts as a prizefighter. He also claimed to have escaped from a Georgia chain gang six days after he was arrested for vagrancy. Mitchum settled down in 1940 and married Dorothy Spence. They moved to Long Beach, CA, and he found work as a drop-hammer operator with Lockheed Aircraft. The job made Mitchum ill so he quit. He next started working with the Long Beach Theater Guild in 1942 and this led to his becoming a movie extra and bit player, primarily in war movies and Westerns, but also in the occasional comedy or drama. His first film role was that of a model in the documentary The Magic of Make-up (1942). Occasionally he would bill himself as Bob Mitchum during this time period. His supporting role in The Human Comedy (1943) led to a contract with RKO. Two years later, he starred in The Story of G.I. Joe and earned his first and only Oscar nomination. Up to that point, Mitchum was considered little more than a "beefcake" actor, one who was handsome, but who lacked the chops to become a serious player. He was also drafted that year and served eight months in the military, most of which he spent promoting his latest film before he was given a dependency discharge. Mitchum returned to movies soon after, this time in co-starring and leading roles. His role as a woman's former lover who may or may not have killed her new husband in When Strangers Marry (1944) foreshadowed his import in the developing film noir genre. The very qualities that led critics to dismiss him, his laconic stoicism, his self-depreciating wit, cynicism, and his naturalism, made Mitchum the perfect victim for these dark dramas; indeed, he became an icon for the genre. The Locket (1946) provided Mitchum his first substantial noir role, but his first important noir was Out of the Past (1947), a surprise hit that made him a real star. Up until Cape Fear (1962), Mitchum had played tough guy heroes and world-weary victims; he provided the dying noir genre with one of its cruelest villains, Max Cady. In 1955, Mitchum played one of his most famous and disturbing villains, the psychotic evangelist Reverend Harry Powell, in Charles Laughton's Night of the Hunter, a film that was a critical and box-office flop in its first release, but has since become a classic. While his professional reputation grew, Mitchum's knack for getting into trouble in his personal life reasserted itself. He was arrested in August 1948, in the home of actress Lila Leeds for allegedly possessing marijuana and despite his hiring two high-calibre lawyers, spent 60 days in jail. Mitchum claimed he was framed and later his case was overturned and his record cleared. Though perhaps never involved with marijuana, Mitchum made no apologies for his love of alcohol and cigarettes. He had also been involved with several public scuffles, this in contrast with the Mitchum who also wrote poetry and the occasional song. Though well known for noir, Mitchum was versatile, having played in romances (Heaven Knows Mr. Allison [1957]), literary dramas (The Red Pony [1949]), and straight dramas (The Sundowners [1960], in which he played an Australian sheepherder). During the '60s, Mitchum had only a few notable film roles, including Two for the See Saw (1962), Howard Hawks' El Dorado (1967), and 5 Card Stud (1968). He continued playing leads through the 1970s. Some of his most famous efforts from this era include The Friends of Eddie Coyle (1973) and a double stint as detective Phillip Marlowe in Farewell My Lovely (1975) and The Big Sleep (1978). Mitchum debuted in television films in the early '80s. His most notable efforts from this period include the miniseries The Winds of War (1983) and its sequel, War and Remembrance (1989). Mitchum also continued appearing in feature films, often in cameo roles. Toward the end of his life, he found employment as a commercial voice-over artist, notably in the "Beef, it's what's for dinner" campaign. A year before his death, Robert Mitchum was diagnosed with emphysema, and a few months afterward, lung cancer. He is survived by his wife, Dorothy, his daughter, Petrine, and two sons, Jim and Christopher, both of whom are actors.

Trivia: It was his failure as a playwright that led Robert Ryan to a three-decade career as an actor. He was a unique presence on both the stage and screen, and in the Hollywood community, where he was that rarity: a two-fisted liberal. In many ways, at the end of the 1940s, Ryan was the liberals' answer to John Wayne, and he even managed to work alongside the right-wing icon in Flying Leathernecks (1951). The son of a successful building contractor, Ryan was born in Chicago in 1909 and attended Dartmouth College, where one of his fraternity brothers was Nelson Rockefeller. He was a top athlete at the school and held its heavyweight boxing title for four straight years. Ryan graduated in 1932, during the depths of the Great Depression, and intended to write plays. Finding no opportunities available in this field, he became a day laborer; he stoked coal on a ship bound for Africa, worked as a sandhog, and herded horses in Montana, among other jobs. Ryan finally had his chance to write as a member of a theater company in Chicago, but proved unsuccessful and turned to acting. He arrived in Hollywood at the end of the '30s and studied at the Max Reinhardt Workshop, making his professional stage debut in 1940. He appeared in small roles for Paramount Pictures, but Ryan's real film career didn't begin until several years later. He returned east to appear in stock, and landed a part in Clifford Odets' Clash by Night, in which he worked opposite Tallulah Bankhead and got excellent reviews. Ryan came to regard that production and his work with Bankhead as the pivotal point in his career. The reviews of the play brought him to the attention of studio casting offices, and he was signed by RKO. The actor made his debut at the studio in the wartime action thriller Bombardier. It was a good beginning, although his early films were fairly lackluster and his career was interrupted by World War II -- he joined the Marines in 1944 and spent the next three years in uniform. Ryan's screen career took off when he returned to civilian life in 1947. He starred in two of the studio's best releases that year: Jean Renoir's The Woman on the Beach and Edward Dmytryk's Crossfire, the latter an extraordinary film for its time dealing with troubled veterans and virulent anti-Semitism, with Ryan giving an Oscar-nominated performance as an unrepentant murderer of an innocent Jewish man. He continued to do good work in difficult movies, including the Joseph Losey symbolic drama The Boy With Green Hair (1948) and with Robert Wise's The Set-Up (1949). The latter film (which Ryan regarded as his favorite of all of his movies) was practically dumped onto the market by RKO, though the studio soon found itself with an unexpected success when the film received good reviews, it was entered in the Cannes Film Festival, and it won the Best Picture award in the British Academy Award competition. Ryan also distinguished himself that year in Dmytryk's Act of Violence and Max Ophüls' Caught, Nicholas Ray's On Dangerous Ground in 1951, and then repeated his stage success a decade out in Fritz Lang's Clash by Night (1952). Along with Robert Mitchum, Ryan practically kept the studio afloat during those years, providing solid leading performances in dozens of movies. In the late '50s, he moved into work at other studios and proved to be one of the most versatile leading actors in Hollywood, playing heroes and villains with equal conviction and success in such diverse productions as John Sturges' Bad Day at Black Rock (1955), Anthony Mann's God's Little Acre (1958), Wise's Odds Against Tomorrow (1959), and Peter Ustinov's Billy Budd (1962). Even in films that were less-than-good overall, he was often their saving grace, nowhere more so than in Ray's King of Kings (1961), in which he portrayed John the Baptist. Even during the late '40s, Ryan was never bashful about his belief in liberal causes, and was a highly vocal supporter of the so-called "Hollywood Ten" at a time when most other movie professionals -- fearful for their livelihoods -- had abandoned them. He was also a founder of SANE, an anti-nuclear proliferation group, and served on the board of the American Civil Liberties Union. During the early '50s, he'd fully expected to be named in investigations and called by the House Select Committee on Un-American Activities or Senator Joseph R. McCarthy, but somehow Ryan was never cited, despite his public positions. In later years, he attributed it to his Irish last name, his Catholic faith, and the fact that he'd been a marine. Considering his career's focus on movies from the outset, Ryan also fared amazingly well as a stage actor. In addition to Clash by Night, he distinguished himself in theatrical productions of Shakespeare's Coriolanus in 1954 at Broadway's Phoenix Theater and a 1960 production of Antony and Cleopatra opposite Katharine Hepburn at the American Shakespeare Festival. (Hepburn later proposed him for the lead in the Irving Berlin musical Mr. President in 1962.) Ryan's other theatrical credits included his portrayal of the title role in the Nottingham (England) Repertory Theater's production of Othello, Walter Burns in a 1969 revival of The Front Page, and James Tyrone in a 1971 revival of Long Day's Journey Into Night. Not all of Ryan's later films were that good. His parts as the American field commander in Battle of the Bulge and Lee Marvin's army antagonist in The Dirty Dozen were written very unevenly, though he was good in them. He was also a strange choice (though very funny) for black comedy in William Castle's The Busy Body, and he wasn't onscreen long enough (though he was excellent in his scenes) in Robert Siodmak's Custer of the West. But for every poor fit like these, there were such movies as John Sturges' Hour of the Gun and Sam Peckinpah's The Wild Bunch, in which he excelled. His success in Long Day's Journey Into Night was as prelude to his last critical success, as Larry in John Frankenheimer's The Iceman Cometh (1973). Ironically, at the time he was playing a terminally ill character in front of the camera, Ryan knew that he was dying from lung cancer. During this time he also filmed a hard-hitting anti-smoking public service announcement that directly attributed his condition to his long-time heavy use of cigarettes.

Trivia: One of the most beautiful women ever captured on celluloid, French actress Arletty was a stage performer for ten years before her 1930 film debut in Un Chien Qui Rapporte. Somewhat daunted by this movie experience, Arletty withdrew from films for a while to fully train herself in adapting her techniques for the camera. The actress hit her cinematic stride just when the Germans marched into France in 1940; nonetheless, she continued to make films, losing none of her popularity. Although her forte was in portraying down-to-earth women of the world, Arletty is best remembered by film students for her etherial role as a mysterious "femme fatale" beloved by most of the male cast in Les Enfants du Paradis (1944). The film, which celebrated the freedom of the human spirit and which featured several fugitive members of the French Underground, is nowadays regarded as an implicit attack against the Nazi occupation troops. In this context, it is ironic that once the war ended, Arletty would spend several years in prison, charged with conducting an affair with a German military officer. Despite a period of relative disgrace, Arletty continued acting into the 1960s, respected for her acting skills by those who could no longer love her. One of Arletty's final screen appearances was a fleeting cameo as an elderly occupation-era Frenchwoman in the internationally produced epic The Longest Day (1962).

Trivia: French actor Jean-Louis Barrault studied acting with Charles Dullin and pantomime with Etienne Decroux while supporting himself as a bookkeeper and flower salesman. Under the direction of Dullin, Barrault made his stage bow in 1931 in Volpone. Never content with mere performing, Barrault became a director with the stage production Autour d'une mere in 1935, the same year that he made his first film, Les Beaux Jours. Five years later, Barrault joined the Comedie Francaise as actor/director. With many of his Comedie Francaise associates -- including several who'd been marked for arrest by the occupying Nazi troops -- Barrault appeared in his most celebrated film, Les Enfants du Paradis (1945). As mime-actor Deburau, whose unrequited love for enigmatic femme fatale Arletty shapes the destiny of his life, Jean-Louis Barrault delivers a matchless performance that is still being studied in acting and mime schools today. In 1959, Barrault organized his own acting company with his wife, actress Madeleine Renaud; as a result, he all but pulled out of filmmaking, except for cameos in such films as The Longest Day (1962). And in 1968, still the rebel he'd been in the days when he hid French Underground members on the set of Les Enfants du Paradis, Jean-Louis Barrault was removed as director of the Theatre de France when he sided with students and strikers during the May Riots.

Trivia: One of the most versatile American movie actors of the mid-20th century, Eddie Albert missed out on stardom but, instead, enjoyed a 50-year-plus screen career that encompassed everything from light comedy and zany satire to the most savage war dramas. Born Edward Albert Heimberger in Rock Island, IL, he attended the University of Minnesota. After working as everything from soda jerk to a circus acrobat (with a short stint as a nightclub and radio singer), Albert headed for New York City, where he scored a hit in the play Brother Rat, portraying military cadet Bing Edwards. He also starred in Room Service on-stage before heading to Hollywood, where he was signed by Warner Bros. to recreate his stage role in the 1938 film Brother Rat. Albert was known for his comedic work during the early years of his career -- his other early major credits included The Boys From Syracuse and Boy Meets Girl on-stage and On Your Toes (1939) onscreen. When he did appear in dramas, such as A Dispatch From Reuters (1940), it was usually as a light, secondary lead or male ingénue, similar to the kinds of parts that Dick Powell played during his callow, youthful days. Albert had an independent streak that made him unusual among actors of his era -- he actually quit Warner Bros. at one point, preferring to work as a circus performer for eight dollars per day. The outbreak of World War II sent Albert into the U.S. Navy as a junior officer, and he distinguished himself during 1943 in the fighting on Tarawa. Assigned as the salvage officer in the shore party of the second landing wave (which engaged in heavy fighting with the Japanese), his job was to examine military equipment abandoned on the battlefield to see if it should be retrieved; but what he found were wounded men who had been left behind under heavy fire. Albert took them off the beach in a small launch not designed for that task, earning commendations for his bravery. A bona fide hero, he was sent home to support a War Bond drive (though he never traded on his war experiences, and didn't discussing them in detail on-camera until the 1990s). When Albert resumed his acting career in 1945, he had changed; he displayed a much more serious, intense screen persona, even when he was doing comedy. He was also a much better actor, though it took ten years, and directors Robert Aldrich and David Miller, to show the movie-going public just how good he was. Ironically, when Albert did return to films, the roles weren't really there for him, so he turned to television and theatrical work during the early '50s. His best movie from this period was The Dude Goes West (1948), an offbeat comedy-Western directed by Kurt Neumann in a vein similar to Along Came Jones. The mid-'50s saw Albert finally achieve recognition as a serious actor, first with his Oscar-nominated supporting performance in William Wyler's hit Roman Holiday (1953) and then, three years later, in Robert Aldrich's brutal World War II drama Attack!, in which he gave the performance of a lifetime as a cowardly, psychopathic army officer. From that point on, Albert got some of the choicest supporting dramatic parts in Hollywood, in high-profile movies such as The Longest Day and small-scale gems like David Miller's Captain Newman, M.D. Indeed, the latter film, in which he played a more sympathetic disturbed military officer, might represent his single best performance onscreen. His ability at comedy wasn't forgotten, however, and, in 1965, he took on the starring role of Oliver Wendell Douglas (opposite Eva Gabor) in the TV series Green Acres, in which he got to play the straight man to an array of top comic performers for six seasons. The show developed a cult following among viewers, ranging from small children to college students, and became a pop-culture institution. The movie business had changed by the time Albert re-entered films in 1971, but he still snagged an Oscar nomination for his work (in a difficult anti-Semitic role) in Elaine May's The Heartbreak Kid (1972). He also remained one of Robert Aldrich's favorite actors, and, in 1974, the director gave him a choice role as the sadistic warden, in The Longest Yard. He had another hit series in the mid-'70s with Switch, in which he and Robert Wagner co-starred as a pair of private investigators whose specialty was scamming wrongdoers. Albert was still working steadily into the early '90s, when he was well into his eighties. From the mid-'40s, the actor had acquired a deep, personal interest in politics, and produced a series of educational films intended to introduce grade-school students to notions of democracy and tolerance. By the '60s, he was also deeply involved in the environmental movement. Albert was married for decades to the Mexican-American actress Margo (who died in 1985); their son is the actor Edward Albert.

Trivia: Pop singer Paul Anka was a successful teenage heartthrob of the late '50s and early '60s. His life was chronicled in the 1962 documentary Lonely Boy (1962). Occasionally, Anka plays small roles in feature films.

Trivia: Actor Richard Beymer has been working steadily on television and in feature films for over four decades. Born in Avoca, IA, Beymer first went before cameras on a Los Angeles children's show at the age of 12, and two years later made his feature-film debut in Vittorio De Sica's Stazione Termini (Indiscretion of an American Wife) (1953). After appearing in several more films during the '50s, with only two major performances in The Diary of Anne Frank (1959) and West Side Story (1961), Beymer had a significant role in The Longest Day (1962), sharing the film's unforgettable last scene with Richard Burton. Beymer enrolled in New York's Actor's Studio in 1963, but subsequently became an active participant in the struggle to allow African-Americans to register for the vote in Mississippi; during his time down South, he also helped to make a prize-winning documentary of the event. In 1974, Beymer directed his first feature film, The Innerview, an avant-garde effort he distributed to various international film festivals. During the '80s, Beymer became a supporting actor and is best remembered for his regular role as Benjamin Horne on David Lynch's television series Twin Peaks.

Trivia: Authoritative German character actor Hans-Christian Blech made his earliest film appearances in 1949. Blech was introduced to American audiences in the role of Tiger in 20th Century Fox's Decision Before Dawn. Thereafter, he was frequently seen as military types in such all-star World War II re-creations as The Longest Day (1962) and The Bridge at Remagen (1969). Larger roles came Hans-Christian Blech's way in director Paul May's 08/15 trilogy of 1955, and in Wim Wenders' 1973 adaptation of The Scarlet Letter, in which Blech played Roger Chillingworth.

Trivia: The 12th of 13 children of a Welsh miner, actor Richard Burton left his humble environs by winning a scholarship to Oxford. Blessed with a thrillingly theatrical voice, Burton took to the stage, and, by 1949, had been tagged as one of Britain's most promising newcomers. Director Philip Dunne, who later helmed several of Burton's Hollywood films, would recall viewing a 1949 London staging of The Lady's Not for Burning and watching in awe as star John Gielgud was eclipsed by juvenile lead Richard Burton: "He 'took' the stage and kept a firm grip on it during every one of his brief appearances." A few years after his film debut in The Last Days of Dolwyn (1949), the actor was signed by 20th Century Fox, which had hopes of turning him into the new Lawrence Olivier -- although Burton was not quite able to grip films as well as he did the stage. Aside from The Robe (1953), most of Burton's Fox films were disappointments, and the actor was unable to shake his to-the-rafters theatricality for the smaller scope of the camera lens. Still, he was handsome and self-assured, so Burton was permitted a standard-issue 1950s spectacle, Alexander the Great (1956). His own film greatness would not manifest itself until he played the dirt-under-the-nails role of Jimmy Porter in Look Back in Anger (1959). In this, he spoke the vernacular of regular human beings -- rather than that of high-priced, affected Hollywood screenwriters -- and delivered a jolting performance as a working-class man trapped by the system and his own personal demons. Following a well-received Broadway run in the musical Camelot, Burton was signed in 1961 to replace Stephen Boyd on the benighted film spectacular Cleopatra (1963). It probably isn't necessary to elaborate on what happened next, but the result was that Burton suddenly found himself an international celebrity, not for his acting, but for his tempestuous romance with co-star Elizabeth Taylor. A hot property at last, Burton apparently signed every long-term contract thrust in front of him, while television networks found themselves besieged with requests for screenings of such earlier Burton film "triumphs" as Prince of Players (1955) and The Rains of Ranchipur (1956). In the midst of the initial wave of notoriety, Burton appeared in a Broadway modern-dress version of Hamlet directed by John Gielgud, which played to standing-room-only crowds who were less interested in the melancholy Dane than in possibly catching a glimpse of the Lovely Liz. Amidst choice film work like Becket (1964) and The Spy Who Came in From the Cold (1966), Burton was also contractually obligated to appear with Taylor in such high-priced kitsch as The V.I.P.s, (1963) The Sandpiper (1965), and Boom! (1968). A few of the Burton/Taylor vehicles were excellent -- notably Who's Afraid of Virginia Woolf? (she won an Oscar; he didn't, but should have) -- but the circus of publicity began to erode the public's ability to take Burton seriously. It became even harder when the couple divorced, remarried, and broke up again. Moreover, Burton was bound by contract to appear in such bland cinematic enterprises as Candy (1968), Villain (1971), The Assassination of Trotsky (1972), The Klansman (1974), and that rancid masterpiece Exorcist II: The Heretic (1977). So low had Burton's reputation sunk that when he delivered an Oscar-caliber performance in Equus (1977), it was hailed as a "comeback," even though the actor had never left. (Once again he lost the Oscar, this time to Richard Dreyfuss.) Burton managed to recapture his old performing fire in his last moviemaking years, offering up one of his best performances in his final picture, 1984 (1984). He died later that year.

Trivia: American actor Red Buttons, born Aaron Schwatt and raised on New York's Lower East Side, won an amateur night contest at age 12. By age 16 he was working in a Bronx tavern as a bellboy-singer; here he took the name "Red Buttons", in reference to his uniform. He went on to work the Catskills Mountains "Borscht Belt" and to perform as a burlesque comedian. He debuted on Broadway as a supporting player in Vickie in 1942. He served in the Army during World War II, appearing in the play Winged Victory; he played the same role in the film version (1944), marking his big-screen debut. After briefly starring in his own TV show in 1953 he had a weak career until he landed the role of Sargeant Joe Kelly in the film Sayonara (1957), his second movie role; for his work in that film he won a Best Supporting Actor Oscar, going on from there to appear frequently in films, usually as a comedy actor.

Trivia: Mel Ferrer dropped out of Princeton University in his sophomore year to become an actor in summer stock; meanwhile he worked as an editor for a small Vermont newspaper and wrote a children's book. He debuted on Broadway in 1938 as a chorus dancer; two years later, he made his debut as an actor. A bout with polio interrupted his career and lead him to work in radio, first as a small-station disc jockey and later as a writer, producer, and director of radio shows for NBC. Having not acted in any films, Ferrer directed his first movie, The Girl of the Limberlost, in 1945; the year in which he also returned to Broadway. After assisting John Ford on the film The Fugitive (1947), he debuted onscreen in Lost Boundaries (1949). Ferrer went on to appear in numerous movies, where he was usually cast as a sensitive, quiet, somewhat stiff leading man; his best-known role was as the lame puppeteer in Lili (1953). He continued to direct films, most of which were unexceptional, then began producing in the late '60s. Since 1960 he has worked primarily in Europe, appearing infrequently in American film and TV productions. His third wife was actress Audrey Hepburn, whom he directed in Green Mansions (1959). He later produced her film Wait Until Dark (1967).

Trivia: One of the precious few actors of the "pretty boy" school to survive past the 1950s, Robert Wagner was the son of a Detroit steel executive. When his family moved to Los Angeles, Wagner's original intention of becoming a businessman took second place to his fascination with the film industry. Thanks to his dad's connections, he was able to make regular visits to the big studios. Inevitably, a talent scout took notice of Wagner's boyish handsomeness, impressive physique, and easygoing charm. After making his unbilled screen debut in The Happy Years (1950), Wagner was signed by 20th Century Fox, which carefully built him up toward stardom. He played romantic leads with ease, but it wasn't until he essayed the two scene role of a shellshocked war veteran in With a Song in My Heart (1952) that studio executives recognized his potential as a dramatic actor. He went on to play the title roles in Prince Valiant (1954) and The True Story of Jesse James (1956), and shocked his bobby-soxer fan following by effectively portraying a cold-blooded murderer in A Kiss Before Dying (1955). In the early '60s, however, Wagner suffered a series of personal and professional reverses. His "ideal" marriage to actress Natalie Wood had dissolved, and his film career skidded to a stop after The Pink Panther (1964). Two years of unemployment followed before Wagner made a respectable comeback as star of the lighthearted TV espionage series It Takes a Thief (1968-1970). For the rest of his career, Wagner would enjoy his greatest success on TV, first in the mid-'70s series Switch, then opposite Stefanie Powers in the internationally popular Hart to Hart, which ran from 1979 through 1983 and has since been sporadically revived in TV-movie form (a 1986 series, Lime Street, was quickly canceled due to the tragic death of Wagner's young co-star, Savannah Smith). On the domestic front, Wagner was briefly wed to actress Marion Marshall before remarrying Natalie Wood in 1972; after Wood's death in 1981, Wagner found lasting happiness with his third wife, Jill St. John, a longtime friend and co-worker. Considered one of Hollywood's nicest citizens, Robert Wagner has continued to successfully pursue a leading man career into his sixties; he has also launched a latter-day stage career, touring with his Hart to Hart co-star Stefanie Power in the "readers' theater" presentation Love Letters. He found success playing a henchman to Dr. Evil in the Austin Powers movies, and in 2007 he began playing Teddy, a recurring role on the hit CBS series Two and a Half Men.

Trivia: Born in Belgium, Fernand Ledoux inaugurated his distinguished stage career in France. He eventually appeared in over 800 plays and films, and for 22 years was one of the stars of the Comedie Francaise. In films from 1919, he didn't achieve screen stardom until 1938, when he played the brutish, cuckolded husband in Renoir's La Bete Humaine. He later made a handful of English-language cameo appearances in such films as Freud (1962) and The Longest Day (1962), and also essayed the major role of the Chief Clerk in Orson Welles' experimental The Trial. Fernand Ledoux was 85 when he last appeared onscreen; he ultimately lived to be 96.

Trivia: German actor Curd Jurgens worked as a journalist until his first wife, actress Louise Basler, persuaded him to take up acting. In 1935 he began appearing on the German stage and screen, and gradually increased his career status until 1944, when he was sent to a concentration camp at the order of Dr. Goebbels. After his release he continued to appear in German films, gaining international recognition with his work in The Devil's General (1955). Jurgens went on to be a leading star of the European stage and international films; onscreen he often played urbane villains, and sometimes was cast as a Nazi. Although he appeared in over 100 films, he considered himself primarily a stage actor. He directed a few films with limited success, and also wrote screenplays. Jurgens was married five times; one of his wives was actress Eva Bartok. He authored an autobiography, Sixty and Not Yet Wise.

Trivia: One of the few movie "superstars" truly worthy of the designation, actor Sean Connery was born to a middle-class Scottish family in the first year of the worldwide Depression. Dissatisfied with his austere surroundings, Connery quit school at 15 to join the navy (he still bears his requisite tattoos, one reading "Scotland Forever" and the other "Mum and Dad"). Holding down several minor jobs, not the least of which was as a coffin polisher, Connery became interested in bodybuilding, which led to several advertising modeling jobs and a bid at Scotland's "Mr. Universe" title. Mildly intrigued by acting, Connery joined the singing-sailor chorus of the London roduction of South Pacific in 1951, which whetted his appetite for stage work. Connery worked for a while in repertory theater, then moved to television, where he scored a success in the BBC's re-staging of the American teledrama Requiem for a Heavyweight. The actor moved on to films, playing bit parts (he'd been an extra in the 1954 Anna Neagle musical Lilacs in the Spring) and working up to supporting roles. Connery's first important movie role was as Lana Turner's romantic interest in Another Time, Another Place (1958) -- although he was killed off 15 minutes into the picture. After several more years in increasingly larger film and TV roles, Connery was cast as James Bond in 1962's Dr. No; he was far from the first choice, but the producers were impressed by Connery's refusal to kowtow to them when he came in to read for the part. The actor played the secret agent again in From Russia With Love (1963), but it wasn't until the third Bond picture, Goldfinger (1964), that both Connery and his secret-agent alter ego became a major box-office attraction. While the money steadily improved, Connery was already weary of Bond at the time of the fourth 007 flick Thunderball (1965). He tried to prove to audiences and critics that there was more to his talents than James Bond by playing a villain in Woman of Straw (1964), an enigmatic Hitchcock hero in Marnie (1964), a cockney POW in The Hill (1965), and a loony Greenwich Village poet in A Fine Madness (1966). Despite the excellence of his characterizations, audiences preferred the Bond films, while critics always qualified their comments with references to the secret agent. With You Only Live Twice (1967), Connery swore he was through with James Bond; with Diamonds Are Forever (1971), he really meant what he said. Rather than coast on his celebrity, the actor sought out the most challenging movie assignments possible, including La Tenda Rossa/The Red Tent (1969), The Molly Maguires (1970), and Zardoz (1973). This time audiences were more responsive, though Connery was still most successful with action films like The Wind and the Lion (1974), The Man Who Would Be King (1975), and The Great Train Robbery (1979). With his patented glamorous worldliness, Connery was also ideal in films about international political intrigue like The Next Man (1976), Cuba (1979), The Hunt for Red October (1990), and The Russia House (1990). One of Connery's personal favorite performances was also one of his least typical: In The Offence (1973), he played a troubled police detective whose emotions -- and hidden demons -- are agitated by his pursuit of a child molester. In 1981, Connery briefly returned to the Bond fold with Never Say Never Again, but his difficulties with the production staff turned what should have been a fond throwback to his salad days into a nightmarish experience for the actor. At this point, he hardly needed Bond to sustain his career; Connery had not only the affection of his fans but the respect of his industry peers, who honored him with the British Film Academy award for The Name of the Rose (1986) and an American Oscar for The Untouchables (1987) (which also helped make a star of Kevin Costner, who repaid the favor by casting Connery as Richard the Lionhearted in Robin Hood: Prince of Thieves [1991] -- the most highly publicized "surprise" cameo of that year). While Connery's star had risen to new heights, he also continued his habit of alternating crowd-pleasing action films with smaller, more contemplative projects that allowed him to stretch his legs as an actor, such as Time Bandits (1981), Five Days One Summer (1982), A Good Man in Africa (1994), and Playing by Heart (1998). Although his mercurial temperament and occasionally overbearing nature is well known, Connery is nonetheless widely sought out by actors and directors who crave the thrill of working with him, among them Harrison Ford, Steven Spielberg, and George Lucas, who collaborated with Connery on Indiana Jones and the Last Crusade (1989), where the actor played Jones' father. Connery served as executive producer on his 1992 vehicle Medicine Man (1992), and continued to take on greater behind-the-camera responsibilities on his films, serving as both star and executive producer on Rising Sun (1993), Just Cause (1995), and The Rock (1996). He graduated to full producer on Entrapment (1999), and, like a true Scot, he brought the project in under budget; the film was a massive commercial success and paired Connery in a credible onscreen romance with Catherine Zeta-Jones, a beauty 40 years his junior. He also received a unusual hipster accolade in Trainspotting (1996), in which one of the film's Gen-X dropouts (from Scotland, significantly enough) frequently discusses the relative merits of Connery's body of work. Appearing as Allan Quartermain in 2003's comic-to-screen adaptation of The League of Extraordinary Gentlemen, the seventy-three year old screen legend proved that he still had stamina to spare and that despite his age he could still appear entirely believeable as a comic-book superhero. Still a megastar in the 1990s, Sean Connery commanded one of moviedom's highest salaries -- not so much for his own ego-massaging as for the good of his native Scotland, to which he continued to donate a sizable chunk of his earnings.

Trivia: Stage actress Madeleine Renaud began making film appearances in 1922, attaining full stardom in the 1930s with such films as Maria Chapdelaine (in the title role in 1934). With her second husband, actor Jean-Louis Barrault, she formed the celebrated Compagnie Renaud-Barrault theatrical troupe in 1948. Thereafter, she appeared only sporadically in films, usually in showcase character roles. Along with several other noted French actors, Madeleine Renaud appeared in a cameo role in 1962's The Longest Day, playing a fearless Mother Superior.

Trivia: British actor Roddy McDowall's father was an officer in the English merchant marine, and his mother was a would-be actress. When it came time to choose a life's calling, McDowall bowed to his mother's influence. After winning an acting prize in a school play, he was able to secure film work in Britain, beginning at age ten with 1938's Scruffy. He appeared in 16 roles of varying sizes and importance before he and his family were evacuated to the U.S. during the 1940 Battle of Britain. McDowall arrival in Hollywood coincided with the wishes of 20th Century-Fox executive Darryl F. Zanuck to create a "new Freddie Bartholomew." He tested for the juvenile lead in Fox's How Green Was My Valley (1941), winning both the role and a long contract. McDowall's first adult acting assignment was as Malcolm in Orson Welles' 1948 film version of Macbeth; shortly afterward, he formed a production company with Macbeth co-star Dan O'Herlihy. McDowall left films for the most part in the 1950s, preferring TV and stage work; among his Broadway credits were No Time for Sergeants, Compulsion, (in which he co-starred with fellow former child star Dean Stockwell) and Lerner and Loewe's Camelot (as Mordred). McDowall won a 1960 Tony Award for his appearance in the short-lived production The Fighting Cock. The actor spent the better part of the early 1960s playing Octavius in the mammoth production Cleopatra, co-starring with longtime friend Elizabeth Taylor. An accomplished photographer, McDowall was honored by having his photos of Taylor and other celebrities frequently published in the leading magazines of the era. He was briefly an advising photographic editor of Harper's Bazaar, and in 1966 published the first of several collections of his camerawork, Double Exposure. McDowall's most frequent assignments between 1968 and 1975 found him in elaborate simian makeup as Cornelius in the Planet of the Apes theatrical films and TV series. Still accepting the occasional guest-star film role and theatrical assignment into the 1990s, McDowall towards the end of his life was most active in the administrative end of show business, serving on the executive boards of the Screen Actors Guild and the Academy of Motion Picture Arts and Sciences. A lifelong movie collector (a hobby which once nearly got him arrested by the FBI), McDowall has also worked diligently with the National Film Preservation Board. In August, 1998, he was elected president of the Academy Foundation. One of Hollywood's last links to its golden age and much-loved by old and new stars alike -- McDowell was famed for his kindness, generosity and loyalty (friends could tell McDowall any secret and be sure of its safety) -- McDowall's announcement that he was suffering from terminal cancer a few weeks before he died rocked the film community, and many visited the ailing actor in his Studio City home. Shortly before he was diagnosed with cancer, McDowall had provided the voiceover for Disney/Pixar's animated feature A Bug's Life. A few days prior to McDowall's passing, the Academy of Motion Picture Arts and Sciences named its photo archive after him.

Trivia: Peter Lawford was a bushy-browed, slender, aristocratic, good-looking British leading man in Hollywood films. At age eight he appeared in the film Poor Old Bill (1931); seven years later he visited Hollywood and appeared in a supporting role as a Cockney boy in Lord Jeff (1938). In 1942 he began regularly appearing onscreen, first in minor supporting roles; by the late 1940s he was a breezy romantic star, and his studio promised him (incorrectly) that he would be the "new Ronald Colman." His clipped British accent, poise, looks, and charm made him popular with teenage girls and young women, but he outgrew his typecast parts by the mid '50s and spent several years working on TV, starring in the series Dear Phoebe and The Thin Man. Off screen he was known as a jet-setter playboy; a member of Frank Sinatra's "Rat Pack," he married Patricia Kennedy and became President John F. Kennedy's brother-in-law. From the 1960s he appeared mainly in character roles; his production company, Chrislaw, made several feature films, and he was credited as executive producer of three films, two in co-producer partnership with Sammy Davis Jr. In 1971-72 he was a regular on the TV sitcom The Doris Day Show. He divorced Kennedy in 1966 and later married the daughter of comedian Dan Rowan. He rarely acted onscreen after the mid-'70s.

Trivia: Marquand is most well known as an actor in European films of the '40s, '50s, and '60s, most notably Luchino Visconti's Senso, Roger Vadim's And God Created Woman, and Jacques Tati's Playtime. In the '60s he also began appearing in American films, including Behold a Pale Horse and The Flight of the Phoenix. Marquand directed two films, the romantic drama Les Grands Chemins (aka Of Flesh and Blood), and the all-star erotic satire Candy.

Trivia: A renowned character actor who never liked that label, Rod Steiger left his mark on 1950s and '60s Hollywood with forceful performances in such critical favorites as On the Waterfront (1954) and The Pawnbroker (1964), culminating in an Oscar for In the Heat of the Night (1967). Despite myriad health problems and less sterling job offers from the 1970s onward, Steiger never stopped acting before he passed away in 2002. Born on Long Island, Steiger was raised in New Jersey by his mother after his parents divorced. Dropping out of high school at 16, Steiger enlisted in the Navy in 1941, serving on a destroyer in the World War II South Pacific. Returning to New Jersey after his 1945 discharge, Steiger worked at the Veterans Administration and joined a civil service theater group where one of the female members urged him to make acting his career. Along with using his G.I. Bill to study at several New York schools, including the Actors Studio, Steiger began landing roles in live TV plays in 1947. Over the next five years, Steiger honed his formidable Method skills in 250-plus live TV productions, as well as on Broadway. Though he appeared in the movie Teresa (1951), Steiger didn't fully make the transition to film until his award-winning performance as the lonely title character in the 1953 TV production of Paddy Chayefsky's Marty, which helped him nab a part in Elia Kazan's On the Waterfront. As Charley Malloy, Steiger most memorably shared the backseat of a cab with screen brother Marlon Brando as Brando's ex-boxer Terry laid the blame for his one-way trip to Palookaville on his corrupt older sibling. Though Kazan had guided Steiger to his first Oscar nomination, Steiger later condemned the Academy's controversial decision to award Kazan an honorary Oscar in 1999. After On the Waterfront, Steiger made his presence felt as a movie tycoon in his erstwhile TV director Robert Aldrich's Hollywood tale The Big Knife (1955), a scheming attorney in Otto Preminger's The Court-Martial of Billy Mitchell (1955), and the villain in Fred Zinnemann's adaptation of Oklahoma! (1955). Further underlining his effusive talent and his intense (if occasionally overwrought) screen style, Steiger co-starred with Humphrey Bogart in Bogart's final film, The Harder They Fall (1956); survived Samuel Fuller-style Western sadism as an Irish-accented ex-soldier in Run of the Arrow (1957); played a psychopath in Cry Terror! (1958); and raged as Al Capone (1959) (Steiger's Capone was later credited as the inadvertent model for Robert De Niro's performance in The Untouchables). Steiger still occasionally acted on-stage, including Orson Welles' unusual adaptation of Moby Dick in 1962. Nevertheless, Steiger concentrated mostly on movies, with his career taking on an international flavor after he married his second wife and Broadway co-star, Claire Bloom, in 1959. After appearing in the low-key British drama The Mark (1961), Steiger joined the impressive Hollywood all-star cast re-staging of D-Day in the war epic The Longest Day (1962). He returned to films after his 1962 theater hiatus as a dishonest politico in the Italian film Le Mani Sulla Città (1963). Steiger's forays into Italian movies preceded two of the best years of his career. In Sidney Lumet's groundbreaking independent drama The Pawnbroker, Steiger's powerful performance as a Holocaust survivor running a Harlem pawnshop earned the Berlin Film Festival's Best Actor prize in 1964 and garnered raves upon the film's 1965 U.S. release. That same year, Steiger also gleefully played the asexual embalmer Mr. Joyboy in Tony Richardson's outrageous comedy The Loved One (1965) and had a small part in David Lean's blockbuster romance Doctor Zhivago (1965). After his banner year resulted in a much-desired Best Actor Oscar nomination for The Pawnbroker, Steiger lost to Lee Marvin. The outcome was different for his next American film, the acclaimed racially charged police drama In the Heat of the Night. Starring opposite Sidney Poitier, Steiger imbued his bigoted Southern sheriff with enough complexity to make him more than just a cliché redneck, reaching a prickly, believable détente with Poitier's sophisticated Northern detective. Nominated alongside youngsters Warren Beatty, Dustin Hoffman, Paul Newman's iconic "Cool Hand" Luke, and venerable lion Spencer Tracy, Steiger won the Best Actor Oscar and closed his acceptance speech by asserting, "We shall overcome." Though he co-starred with Bloom in two films post-In the Heat of the Night, The Illustrated Man (1969) and Three Into Two Won't Go (1969), they divorced in 1969. Steiger won critics' hearts again with his bravura performance as a schizoid serial killer in No Way to Treat a Lady (1968). His antiwar sentiments, however, provoked Steiger to turn down the eponymous World War II general in Patton (1970); Steiger instead played French emperor Napoleon in the European production depicting his defeat at Waterloo (1970). In search of good roles, Steiger mostly worked abroad in the early '70s. Though they clashed over Steiger's Method techniques during production, Steiger was excellent as a peasant caught up in the Mexican Revolution in Sergio Leone's Western Duck, You Sucker! (1972). He also worked with veteran Leone star Gian Maria Volonté in Francesco Rosi's Lucky Luciano (1974), and played Benito Mussolini in the The Last Days of Mussolini (1974). His performance in Claude Chabrol's Dirty Hands (1975), however, fell prey to his tendency to over-emote. Though he was a superb W.C. Fields in American biopic W.C. Fields and Me (1976), Steiger's Hollywood career had undeniably fallen from his 1950s and '60s heights. He shared the screen with new star Sylvester Stallone in one of Stallone's early flops, F.I.S.T. (1978), and chewed the haunted house scenery in schlock horror flick The Amityville Horror (1979). Steiger joined the distinguished cast of the British drama Lion of the Desert (1981) for his second turn as Il Duce, but the film sat on the shelf for two years before its release; appealing Western Cattle Annie and Little Britches (1981) was buried by its distributor. Steiger was back in peak form as a Hasidic rabbi in the film version of The Chosen (1981), but that did little to stop Steiger's slide into TV movies and such B-horror pictures as The Kindred (1987) and American Gothic (1987) in the 1980s. Steiger's career problems were exacerbated by health difficulties, as he was forced to undergo open-heart surgery in 1976 and 1980. With producers wary of hiring him, and his third marriage ending in 1979, Steiger suffered debilitating bouts of depression in the late '70s and mid-'80s. Nevertheless, Steiger continued to work into the 1990s. Crediting his fourth wife, Paula Ellis, with keeping him sane, Steiger weathered his disappointment with The Ballad of the Sad Café (1991), and took pleasure in appearing as "himself" in Robert Altman's acclaimed Hollywood evisceration The Player (1992) as well as playing Sam Giancana in the TV biopic Sinatra (1992). While he mostly worked in TV, Steiger turned up in small yet memorable feature roles as a Mafia capo in The Specialist (1994), a loony Army commander in Mars Attacks! (1996), a judge in The Hurricane (1999), and a bombastic priest in End of Days (1999). His final film, the indie drama Poolhall Junkies (2002) with Christopher Walken, was slated for release the same year he was one of the indie-friendly actors dining on Jon Favreau's IFC talk show Dinner for Five. Steiger passed away from pneumonia and kidney failure on July 9, 2002. He was survived by his fifth wife, his daughter with Bloom, and his son with Ellis.

Trivia: Smooth, refined British star Leo Genn is known for his relaxed charm and "black velvet" voice. Before becoming an actor, he received a law degree at Cambridge and worked as a barrister in the early '20s. In 1930 he debuted onstage; for several years he continued earning money with legal services, meanwhile gaining experience in both plays and films. In 1939 he finally gave up the law to make his Broadway debut. He served with the Royal Artillery during World War II; in 1943 he was promoted to lieutenant colonel, and in 1945 he was awarded the Croix de Guerre. On several occasions during the war he was granted leave to appear in films. At war's end he became one of Britain's investigators of war crimes at the Belsen concentration camp and went on to be an assistant prosecutor for the Belsen trial. After his small but noteworthy role as the Constable of France in Laurence Olivier's film Henry V (1944), he was invited to the U.S., where he had a great theatrical triumph in the 1946 Broadway production of Lillian Hellman's Another Part of the Forest. His stage and screen career flourished afterwards in both the U.S. and England. Onscreen he was usually cast in smart, likable, subtle character leads and supporting roles. For his portrayal of Gaius Petronius, Nero's counselor, in Quo Vadis (1951), he received a "Best Supporting Actor" Oscar nomination.

Trivia: Handsome leading man Ray Danton trained for an acting career at Carnegie Tech. In films from 1952, Danton made an excellent impression as a hot-tempered Native American in Chief Crazy Horse (1954), but would not star in a film until Outside the Law (1956). Projecting an image of dangerous unpredictability, he was effectively cast in such roles as sex maniac Stan Hess in The Beat Generation (1959). During Hollywood's gangster cycle of the early '60s, Danton played the title roles in The Rise and Fall of Legs Diamond (1960) and The George Raft Story (1960). As time went by, he began buoying his villainous characterizations with a wry sense of humor: Explaining his treachery to girlfriend Judi West in the 1965 Man From U.N.C.L.E. TV episode "The Discotheque Affair," Danton smoothly comments, "Darling, I forgot to tell you...I'm a cad." A more pleasant (but no less roguish) Danton was seen as one of the leads of the weekly Warner Bros. TVer The Alaskans (1959-1960). Unhappy at being typecast, Danton turned to directing in 1972 with the theatrical feature The Deathmaster. He later directed episodes of such TV weeklies as Cagney and Lacey, Fame, Quincy, and Dallas, and served a supervising producer of The New Mike Hammer (1984-1987). Ray Danton was married to Julie Adams, with whom he co-starred in Tarawa Beachhead (1958).

Trivia: Franco-Russian model Irina Demick was Darryl F. Zanuck's newest obsession in 1961. He cast her prominently as a French resistance fighter in his all-star The Longest Day (1962), making a point of bringing up her key scene (in which she drowns a Nazi officer) at virtually every press conference attending the film's release. In 1965, Irina was spotlighted in no fewer than seven roles in Those Magnificent Men in Their Flying Machines, each character a different nationality. Despite Zanuck's strenuous efforts, Irina Demick never caught on with the public, and she faded from films after 1968's Prudence and the Pill.

Trivia: The younger brother of actor Dana Andrews, Steve Forrest served in World War II while his brother (17 years Steve's senior) was starring in such films as The Purple Heart (1944) and Laura (1944). Upon his return to America, Steve went to Hollywood to pay a social call on Dana, decided he liked the movie colony, and opted to stick around for a while. Though he'd previously played bits in such films as Crash Dive (using his given name of William Andrews), Forrest never seriously considered acting as a profession until enrolling at UCLA. He tried regional theatre work and scriptwriting then received a brief but showy bit part in MGM's The Bad and the Beautiful (1952). This led to further film work in second leads then several years' worth of villainous roles. When asked why he accepted so many bad-guy assignments, Forrest would cite the comment once made to him by Clark Gable: "The hero gets the girl but the heavy gets the attention". By 1969, however, Forrest felt as though he'd worn out his welcome as a heavy, and began regularly turning down roles, holding out for heroic parts. In 1975, he was cast as Lieutenant Dan "Hondo" Harrison on the popular TV action series S.W.A.T., which might have run for years had it not been axed under pressure from the anti-violence brigades. More recently, Steve Forrest lampooned his rugged, rough'n'ready image in the 1987 film comedy Amazon Women of the Moon.In the years to follow, Forrest would remain beloved for his man's man presence on screen, appearing occasionally on shows like Colombo and Murder, She Wrote. Forrest passed away in 2013 at the age of 87.

Trivia: Following wartime service in the Royal Navy, actor John Gregson built up an admirable list of theatrical credits. Signed for films by the Rank Organisation, Gregson achieved worldwide popularity as Alan McKim in the wistful comedy Genevieve (1953); though he spent virtually the entire film behind the wheel of a vintage automobile, Gregson didn't know how to drive--and so far as his co-stars were concerned, he was a very slow learner. By the end of the 1950s, Gregson had put comedy behind him to appear in a succession of military roles like Captain Bell in Pursuit of the Graf Spee (1959). On television, Gregson starred as the title character in the well-circulated Gideon CID (1966) and was co-starred as Dennis Croft on the abortive Shirley MacLaine sitcom Shirley's World (1971). John Gregson was married to actress Thea Gregory.

Trivia: Short and intense Sal Mineo was a sad-eyed juvenile and adult actor with black curls. At age eight his misbehavior caused him to be kicked out of a parochial school; he went on to attend dancing classes and two years later was cast in Broadway's The Rose Tattoo, moving from there to a prominent adolescent role in The King and I with Yul Brynner. Mineo debuted onscreen in 1955 and for the next decade he was a busy screen actor, first in juvenile roles and then in youthful leads; his characters were often troubled. For his work at age 16 in Rebel Without a Cause (1955), his third feature, he received a Best Supporting Actor Oscar nomination; he was nominated in the same category for Exodus (1960). His film work began to dry up after the mid-'60s and Mineo turned to TV and the stage. He directed the play Fortune and Men's Eyes on the West Coast and on Broadway. He was stabbed to death on the street in 1976.

Trivia: Welsh-born actor Donald Houston made his theatrical bow with in 1940 with the Pilgrim Players. Houston's earliest stage success was Tobias and the Angel, in which he appeared for several seasons, both in London and on the road. He was later active with the Oxford Rep and the Old Vic. Though he made his first film in 1941, he didn't achieve stardom until he appeared opposite Jean Simmons in the 1949 version of The Blue Lagoon. He later developed into a stellar character actor, accumulating such credits as Room at the Top (1959), A Study in Terror (1965, as Sherlock Holmes' Dr. Watson) and Clash of the Titans (1981). He also appeared in several "Doctor in the House" series entries. The brother of actor Glyn Houston, Donald Houston was married to actress Brenda Hogan.

Trivia: The son of a sales engineer and born in New Orleans, Jeffrey Hunter was raised in Milwaukee, WI. While still in high school, Hunter acted on Milwaukee radio station WTMJ; this led to summer stock work. After serving in the Navy, Hunter attended Northwestern University, where he continued his stage appearances and was featured in the 1950 film version of Julius Caesar, which starred Charlton Heston. Attending U.C.L.A. on a scholarship, Hunter was spotted by a Hollywood agent while starring in a school production of All My Sons. He made his first "mainstream" film appearance in 20th Century Fox's Fourteen Hours, a film which also served as the debut for Grace Kelly. His movie career gained momentum after he co-starred with John Wayne in the Western classic The Searchers (1956). In 1961, Jeffrey Hunter was cast as Jesus Christ in The King of Kings; the actor's youthful appearance prompted industry wags to dub the picture "I Was a Teenaged Jesus," though in fact Hunter was 33 at the time. Few of his post-King of King roles amounted to much, and by 1967 he was one of several former Hollywood luminaries knocking about in European films. From 1950 through 1955, Hunter was married to actress Barbara Rush, who years after the divorce would remember Hunter fondly as the handsomest man she ever met. Jeffrey Hunter died of a concussion at 42, after an accidental fall in his home.

Trivia: Canadian actor Alexander Knox launched his stage career in Britain in 1929; two years later he made his film film, The Ringer. After a successful British stage career, Knox came to America in 1941, where he found steady film work playing learned types. In The Sea Wolf (1941), Knox was the pedantic Weyland, the opponent/doppelganger of brutish sea captain Wolf Larsen (Edward G. Robinson); while in This Above All (1942), Knox lent credibility to his role as clergyman who does but really doesn't condone a clandestine love affair. Knox's most daunting American film assignment was the title role in Wilson (1944), producer Darryl F. Zanuck's budget-busting valentine to the 28th president of the United States. Too healthy and fit to be totally convincing as Woodrow Wilson, Knox nonetheless sustained audience interest in an otherwise ponderous film marathon, and received an Oscar nomination -- which he might have won had not Wilson been one of the most conspicuous failures in Hollywood history. Nonetheless, the film allowed Knox to command star billing for his next few American pictures, including the enjoyable 1949 outing The Judge Steps Out, a light comedy loosely based on the Judge Crater disappearance. In the early 1950s, Knox found himself playing a few villains, at least until Hollywood's doors closed on him during the Blacklist era (that a man who once played a U.S. president should even be suspected of subversive leanings is quite ironic). The actor returned to Britain for choice character roles in such films as The Sleeping Tiger (1954), The Night My Number Came Up (1955) and Oscar Wilde (1957). In 1967, Knox was signed up for a term as a fictional U.S. president in the James Bond extravaganza You Only Live Twice (1967). Active in films until the mid 1980s, Knox also kept busy as a screenwriter and mystery novelist.

Trivia: The first time we saw American actor Dewey Martin was as Butch in 1949's Knock on Any Door. Though his all-American features would have ensured him a long career as a leading man, Martin made a conscious effort to avoid being pigeonholed, essaying such complex characters as escaped convict Hal Griffin in The Desperate Hours. He appeared with frequency on television, showing up on the many filmed anthologies of the 1950s and 1960s, as well as the made-for-TV movie Assault on the Wayne (1971). Evidently, Dewey Martin retired from acting around 1975.

Trivia: Educated at Switzerland's Fischer Institute, British character actor Michael Medwin was first seen on screen in 1946's Piccadilly Incident. He essayed breezy cockney bits and supporting roles in a number of war films as well as several lighthearted comedies of the Genevieve (1953) variety. With the 1967 "mod" seriocomedy Charlie Bubbles, Medwin switched hats to become a producer; his subsequent productions have included such off-the-track fare as If... (1968) and O Lucky Man (1973) etc. Even while producing, Medwin occasionally kept his hand in the acting game. British TV fans were offered a surfeit of Michael Medwin on the popular sitcoms The Army Game (1957-72) and Shoestring (1979-80).

Trivia: Belgian actor Jean Servais built his reputation on the Parisian stage, where he played leading roles from the late 1920s onward. Servais' film career, which began in 1932, was interrupted for several years by the War. By the time he had returned before the cameras in 1946, he had acquired a brooding, haunted demeanor which lingered until the end of his days. Servais' film work of the 1950s includes the influential crime-caper drama Rififi, in which he played Tony le Stephanois, the cool, methodical leader of a quartet of jewel thieves. He continued working in films until the early 1970s, accepting small but significant character roles in such popular international fare as The Longest Day (1962) and That Man From Rio (1964). Jean Servais was at one time the husband of actress Dominique Blanchar.

Trivia: Character player, onscreen from 1936.

Trivia: German actor Wolfgang Preiss first stepped before the cameras in 1942, then disappeared from the view of moviegoers for nearly a dozen years. Preiss gained belated celebrity in the 1960s as the demonic title character in the "Dr. Mabuse" film series, beginning with 1000 Eyes of Dr. Mabuse (1960). In American films, he tended to be typecast as high-ranking Nazis. Wolfgang Preiss' most prominent assignments in this vein were the roles of Erwin Rommel in Raid on Rommel (1971) and General Von Runstedt in A Bridge Too Far (1977).

Trivia: Ron Randell was engaged in radio and stage work in his native Australia from his teens. Randell's first leading film role was as a real-life aviation hero in Smithy (1946). In Hollywood, Randell starred as fictional detectives Bulldog Drummond and the Lone Wolf, at the tail end of both of those characters' long-running B-picture series. He spent the 1950s fluctuating between American and British productions; he was featured as Cole Porter in Kiss Me Kate (1958) and starred in the 1957 TV espionage series O.S.S. Ron Randell continued his stage career into the 1990s, going on to join Tony Randall's National Actors Theater.

Trivia: A small British character actor, onscreen from the '50s, he often played comedic working class types.

Trivia: Formerly lauded (by his press agents) as the next Elvis Presley, Tommy Sands started out as a juvenile actor on television. As a youth, he recorded a few hit rock & roll singles; he made his feature-film acting debut as the same in Sing, Boy, Sing (1958). His film career lasted in a similar vein through the late '60s until a liver disease coupled with mental breakdowns forced him to leave acting. He did, however, make a few guest appearances on the television crime drama Hawaii Five-O. Sands was formerly married to singer/actress Nancy Sinatra.

Trivia: George Segal kicked off his performing career as a boy magician in his Long Island neighborhood. An accomplished banjoist, Segal played with Bruno Lynch and His Imperial Jazz before enrolling at Columbia University. After three years' military service, Segal resettled in New York in 1959, and that same year was cast in his first off-Broadway play. Entering films with 1961's The Young Doctors, Segal quickly established himself as one of Hollywood's most accomplished young character actors; in 1967, he received an Oscar nomination for his portrayal of Nick in Who's Afraid of Virginia Woolf. When one compiles a list of favorite films from the late 1960s-early 1970s, one usually spends a great deal of time exclaiming "Hey! Segal was in that, too." He played a hustling POW in King Rat (1965), a Cagneyesque hood in Saint Valentine's Day Massacre (1967), ulcerated homicide detective Mo Brummel in No Way to Treat a Lady (1968), a neurotic New York Jewish intellectual in Bye Bye Braverman (1968), a straight-laced bachelor in love with a foul-mouthed hooker in The Owl and the Pussycat (1970), and a repressed lawyer saddled with an outrageously senile mother in Where's Poppa? (1970). During this same period, Segal had an arrangement with the ABC TV network, permitting him to star in television adaptations of classic Broadway plays: he was cast as George opposite Nicol Williamson's Lenny in Of Mice and Men, then switched gears as vicious escaped criminal Glenn Griffin in The Desperate Hours. Throughout this busy period in his life, Segal fronted the Beverly Hills Unlisted Jazz Band, cutting several records and making a number of memorable Tonight Show appearances. In 1973, Segal's successful screen teaming with Glenda Jackson in A Touch of Class enabled him to demand a much higher price for his film services; unfortunately, many of the films that followed--The Black Bird (1975) and The Duchess and the Dirtwater Fox (1976) in particular--failed to justify Segal's seven-figure price tag. In the 1980s, Segal starred in two well-written but low-rated TV weeklies, Take Five (1987) and Murphy's Law (1989). His film career was lifted from the doldrums in the late 1980s with such plum roles as the pond-scum father of Kirstie Alley's baby in Look Who's Talking (1989) and the "pinko" comedy writer in For the Boys (1991). Segal's projects of the 1990s have included the syndicated TV adventure series High Tide (1994) and such film roles as the bemused husband of abrasive Jewish mama Mary Tyler Moore in the 1996 Ben Stiller vehicle Flirting with Disaster. In 1996, Segal found renewed success on television playing a well-meaning but rather duplicitous publisher whose estranged daughter comes to work for him in the razor-sharp NBC sitcom Just Shoot Me. Though he worked less frequently during the 21st century, he appeared in a variety of projects including The Linda McCartney Story as the main character's father, Fielder's Choice, 2012, and Love and Other Drugs.

Trivia: Bernard Fox was descended from a long line of British stage actors; perhaps his most famous forebear was his uncle, veteran comic actor Wilfred Lawson. Fox made his screen debut in 1956's Soho Incident, appearing in several other British films before he was brought to Hollywood by actor/producer Danny Thomas in 1963. Generally cast in stuffy, old-school-tie roles, the toothbrush-mustached Fox flourished in American films and TV programs well into the late 1980s. Bernard Fox was most widely recognized for his TV work, notably his recurring appearances as gentleman's gentleman Malcolm Merriweather on The Andy Griffith Show and wacky warlock Dr. Bombay on Bewitched; he also played Dr. Watson opposite Stewart Granger's Sherlock Holmes in the 1972 TV-movie adaptation of The Hound of the Baskervilles. He appeared in blockbusters like Titanic (1997) and The Mummy (1999) towards the end of his career; one of his final roles was reprising his Dr. Bombay character on the supernatural soap opera Passions. Fox died in 2016, at age 89.

Trivia: An art major at Yale University, Tom Tryon attended the Art Student's League in New York, then studied acting at the Neighborhood Playhouse. Working both on-stage and backstage with several stock companies, Tryon began picking up TV work in the 1950s. His first burst of fame was the result of his starring stint in the Texas John Slaughter episodes of TV's Walt Disney Presents. In 1962, he was signed to a contract by producer/director Otto Preminger, who cast Tryon in the lead of the 1963 big-budgeter The Cardinal. Tryon later quit acting to become a successful novelist, specializing in gothic horror. Tom Tryon's best-selling novels include The Other, Harvest Home, and Crowned Heads, all of which were adapted to film.

Trivia: Trained as a musician, Peter Van Eyck fled his native Germany when Hitler assumed power in 1933. Van Eyck secured work in the U.S. as a musical arranger for some of the top names in the business. Through the kindness of fellow German expatriate Billy Wilder, Van Eyck was able to get work as a radio actor, and in 1942 was cast in his first film, The Moon Is Down. While his name and Teutonic bearing typecast Van Eyck as a Nazi in most of his wartime films, he was equally effective in sympathetic roles. Closing out his Hollywood career in 1951, Peter Van Eyck spent his last two decades as a popular leading man in European films.

Trivia: For almost 40 years, from the end of the 1930s to the mid-'70s, Richard Wattis enjoyed a reputation as one of England's more reliable character actors, and -- in British films, at least -- developed something akin to star power in non-starring roles. Born in 1912, as a young man he managed to avoid potential futures in both electric contracting and chartered accountancy, instead becoming an acting student in his twenties. His stage career began in the second half of the 1930s, and in between acting and sometimes producing in repertory companies, Wattis became part of that rarified group of British actors who appeared on the BBC's pre-World War II television broadcasts. He made his big-screen debut with a role in the 1939 feature A Yank at Oxford, but spent the most of the six years that followed serving in uniform. It was after World War II that Wattis came to the attention of critics, directors, and producers for his comic timing and projection, and began getting cast in the kinds of screen and stage roles for which he would ultimately become famous, as pompous, dry, deadpan authority figures, snooping civil servants, and other comical pests. Beginning with Frank Launder and Sidney Gilliat's The Happiest Days of Your Life (1950), his roles and billing got bigger, and he was cast to perfection as Manton Bassett in the "St. Trinian's" films of Launder and Gilliat. Wattis became so well liked by audiences in those kinds of parts -- as annoying government officials, in particular -- that producers would see to it, if his part was big enough, that he was mentioned on posters and lobby cards. He remained very busy in films right up until the time of his death in the mid-'70s.

Trivia: Stuart Whitman, with a rugged build and sensitive face, rose from bit player to competent lead actor, but never did make it as a popular star in film. The San Francisco-born Whitman served three years with the Army Corps of Engineers where he was a light heavyweight boxer in his spare time. He next went on to study drama at the Los Angeles City College where he joined a Chekhov stage group. He began his film career in the early '50s as a bit player. Although never a star, he did manage to quietly accumulate $100 million dollars through shrewd investments in securities, real estate, cattle, and Thoroughbreds. For his role as a sex offender attempting to change in the 1961 British film The Mark, Whitman was nominated for an Oscar. In addition to features, Whitman has also appeared extensively on television.

Trivia: British actor Patrick Barr went from stage to screen with 1932's The Merry Men of Sherwood. Barr spent the 1930s playing various beneficent authority figures and "reliable friend" types, picking up where he left off in 1946 after six years' military service. In the early 1950s Barr began working in British television, attaining a popularity that had undeservedly eluded him while playing supporting parts in such films as The Frightened Lady (1941) and The Blue Lagoon (1948). This latter-day fame enabled Patrick Barr to insist upon better roles and command a higher salary for his films of the 1950s and 1960s: among the movies in which he appeared during this period were The Dam Busters (1955), Saint Joan (1957), Next to No Time (1960), Billy Liar (1963) and The Great Train Robbery (1978).

Trivia: Character actor John Crawford has appeared on screen in many films since 1945.

Trivia: British actor Lyndon Brook was the son of stage and film star Clive Brook and the brother of actress Faith Brook. Upon seeking his own theatrical career, Brook chose to downplay his distinguished lineage by changing his real name, Clive Brook Jr., to the less obvious Lyndon. He established himself in his profession without emphasizing his family ties, working steadily on stage, in films and on TV. Brook appeared in several Hollywood-financed British films, among them The Purple Plain (1954) (with Gregory Peck) and Song without End (1960) (an empty biopic of composer Franz Liszt, starring Dirk Bogarde). In 1973, Lyndon Brook starred in a TV adaptation of Aldous Huxley's Point Counter Point, one of several British productions televised on PBS' Masterpiece Theatre.

Trivia: Trained in British repertory, actor Richard Dawson achieved prominence in the late '50s as a cabaret and TV comedian. Arriving in the U.S. in 1961, Dawson made the variety-show rounds with an act consisting largely of quickie celebrity impressions. One of his first acting assignment was as Peter Sellers' takeoff Racy Tracy Rattigan in a 1963 episode of The Dick Van Dyke Show. A solid dramatic role as a military prisoner in King Rat led to a longer stint as resourceful cockney POW Peter Newkirk on the popular sitcom Hogan's Heroes (1965-1971). After appearing as a regular on Rowan & Martin's Laugh-In and The New Dick Van Dyke Show, Dawson settled into his true niche as a wisecracking game-show host. From 1976 through 1985, he emceed TV's The Family Feud, winning an Emmy Award for his troubles (he later resumed his Family Feud hosting chores in the 1994 syndicated version). Fittingly enough, Richard Dawson's first feature-film role after Feud was as the smarmy host of a futuristic life-or-death quiz program in Arnold Schwarzenegger's The Running Man (1989).

Trivia: French stage actor Eugene Deckers relocated to England when his Nazi-held homeland was liberated by the Allies. Re-establishing himself on the British stage, Deckers made his first English language film appearance in 1946. Formerly a romantic lead, he specialized in "continental" character roles, playing many an obsequious concierge and imperious diplomat. As he grew older, Eugene Deckers expanded his characterization range to include Germans and Italians as well as Frenchmen; he made his final screen appearance in 1968.

Trivia: RADA-trained British stage actor Frank Finlay was 31 when he made his London stage debut. The following year, he scored his first significant theatrical success, playing an elderly Jewish patriarch in Chicken Soup With Barley. In 1962, the RADA-trained Finlay made the first of his infrequent film appearances in The Loneliness of the Long Distance Runner. In 1964, Finlay toured with the National Theatre of Great Britain, playing Iago opposite Laurence Olivier's Othello. When Othello was committed to film in 1965, it was Finlay who received the lion's share of excellent notices; he was also nominated for an Academy Award. Most of Finlay's film characters have had sturdy literary pedigrees: he played Porthos in The Three Musketeers (1973) and its two sequels; Inspector Lestrade in a brace of Sherlock Holmes films, A Study in Terror (1965) and Murder by Decree (1979); Jacob Marley in the 1984 George C. Scott version of A Christmas Carol; and Sancho Panza in a 1973 made-for-TV adaptation of Don Quixote. Among the historical figures portrayed by Frank Finlay are John Carter in Cromwell (1969), Sergei Alleluveya in Stalin (1992), the title roles in the British TV productions The Last Days of Hitler and Casanova, and the part of Salieri in the London staging of Amadeus. Finlay continued acting through the 2000s; he died in 2016, at age 89.

Trivia: French supporting actor Bernard Fresson was discovered on-stage by noted director Alain Resnais, who cast Fresson in Hiroshima Mon Amour (1959). Prior to becoming an actor, Fresson had studied law in Paris. Since his debut, Fresson appeared steadily in numerous French films, particularly those of Resnais.

Trivia: Rubber-faced British character actor Harold Goodwin first appeared onscreen in 1950.

Trivia: British character actor Walter Gotell spent most of his screen time as the "enemy." He was especially adept at portraying hissable Nazis in WWII dramas and equally odious KGB agents in Cold War films. His best-known role was Russian General Gogol in three of the James Bond epics: Moonraker, For Your Eyes Only, and View to a Kill. Walter Gotell remained active in films and TV throughout the 1990s, as sinister as ever in such works as Puppet Master IV (1991).

Trivia: British lead and supporting actor, onscreen from the '50s.

Trivia: From his first film role in Seven Days to Noon (1949) onward, Victor Maddern was typecast as a cockney serviceman. Sometimes a soldier, Maddern was usually seen as a sailor, notably in the 1960 British TV sitcom Mess Mates. He also showed up in several of the "Carry On" farces, the last being Carry On Emmanuelle. American TV viewers got to see Maddern on a weekly basis as sporting-goods salesman Thomas Finch in the 1962 Anglo-American sitcom Fair Exchange. When not appearing before the cameras, Victor Maddern has been tirelessly active as a fundraiser for religious charities.

Trivia: Veteran Australian character actor John Meillon is best remembered for playing Paul Hogan's partner in Crocodile Dundee (1988) and its sequel, but his film career began in 1959 when he played a sailor in Stanley Kubrick's On the Beach. Meillon made his acting debut at age 11 on the radio and the year after first performed on-stage. He spent the early '60s in Britain where he appeared in such films as The Longest Day (1962), but returned to Australia mid-decade. He gained national fame when he starred in the popular television series My Name's McGooley, What's Yours? Meillon spent the rest of his career working in television and feature films.

Trivia: A recording artist from age 14, 1950s teen-idol Fabian rose to stardom with such Doc Pomus/ Mort Shuman compositions as "Hound Dog Man" and "Turn Me Loose." Fabian functioned best under the careful tutelage of Bandstand producer Dick Clark and with the benefit of the songwriting input of Pomus and Shuman. Many of his earliest film appearances (North to Alaska [1960], Mr. Hobbs Takes a Vacation [1962]) indicated that Fabian could be an appealing screen personality with the proper guidance. His popularity suffered a severe setback when he guest-starred as a psychopathic killer on the 1961 TV series Bus Stop; the episode, "A Lion is in the Streets," was considered so reprehensibly violent that it prompted a congressional investigation. While he continued to make records and film appearances, Fabian's career peaked in the early 1960s and went downhill thereafter. Billing himself as Fabian Forte from 1970 onward, the singer/actor has continued to work in cheap horror films and cycle flicks, and has made a few moderately successful TV guest appearances.

Trivia: Tony Mordente was born in New York City in 1933. Trained as an actor, dancer, and singer, his first major credit was in the role of Action in West Side Story, on which he also served as an assistant choreographer. He also had a short-lived recording career around 1960, on Roulette Records, which was hoping to capitalize on the success of West Side Story. Mordente concentrated primarily on stage roles during the early '60s, a period in which he was based in New York, and his only screen role, apart from West Side Story, came in 1963 with a small part in Love With the Proper Stranger. His early television appearances included two episodes of Combat during the series' first season, but it was his role as Genaro Planetta in The Outer Limits episode "The Invisibles" -- one of the most chilling in the series' output -- that showed him at the peak of his powers as an actor. Portraying Planetta, the fidgety, neurotic recruit into a secret society run by alien invaders, Mordente almost managed to steal the show from its star, Don Gordon, and a supporting cast that included such veterans as George Macready and Neil Hamilton, in what should have been an Emmy-nominated performance. Mordente turned to directing after the mid-'60s, and has proved equally adept at handling comedy, drama, or action subjects. He has helmed installments of M*A*S*H, Rhoda, Busting Loose, The Greatest American Hero, Family Ties, Quincy, M.E., The A-Team, Hunter, Matlock, and 7th Heaven, and was responsible for directing 37 episodes of Walker Texas Ranger during the series' first five seasons -- the latter credit puts him in the same league with his fellow West Side Story alumnus Gus Trikonis as a top small-screen action-adventure directorial hand. Mordente has been married to Broadway star Chita Rivera since the 1960s, and their daughter is the actress Lisa Mordente.

Trivia: Born in Canada, actor Bill Nagy spent the bulk of his career in England...playing Americans. He was particularly adept at gangsters and thugs, as witness such films as Joe MacBeth (1956) and Mickey Spillane's The Girl Hunters (1963) and his TV guest-star stints on The Avengers, The Saint, and Secret Agent. Nagy had a varied choice of roles in British/American productions like Road to Hong Kong (1962), A Countess from Hong Kong (1967) and The Adding Machine in Hong Kong...er, The Adding Machine (1968). In First Man into Space (1957), Nagy convincingly played a New Mexico police chief, although the film's British countryside was decidedly more forrested than the real American Southwest. In a later sci-fi assignment, Nagy played the President of a quasi-American nation where reproduction is a capital crime in the futuristic Z P G (1972). Perhaps the biggest moneymaking film with which Bill Nagy was associated was Goldfinger; as Midnight, Nagy was a member of a powerful gangster cartel which was inhospitably rubbed out by the villainous Mr. Goldfinger (Gert Frobe).

Trivia: Born in Abrud, Romania, and raised in Dayton, OH, actor Nick Stuart was a handsome, athletic leading man in many Hollywood films of the late '20s and early '30s. Before coming to Hollywood as a prop boy in the mid-'20s, Stuart worked as a shipping clerk. He became an actor in 1927 after getting more experience as a script clerk and an assistant cameraman. After leaving films, Stuart led his own orchestra until the early '60s, when he opened a men's clothing store in Biloxi, MS.

Trivia: Actress Sian Phillips was performing on BBC radio's Welsh-language service at the age of 11. Phillips made her first British television appearance at 17; one year later, she won a Welsh acting award, which paid her way through RADA. She made her London stage debut in 1957, in a charity production of Hedda Gabler. From 1959 through 1979, Sian was the wife of actor Peter O'Toole, with whom she appeared in the 1964 film Becket and the 1969 movie musical Goodbye Mr. Chips. Almost too dynamic for "average" roles, Sian was an unforgettable Livia in the PBS miniseries I, Claudius, and brought a properly mystical bearing to her otherworldly characters in the film fantasies Clash of the Titans (1981) and Dune (1984). Her instinctive regality served her well as narrator of the 1967 documentary The Other World of Mr. Churchill and as the Duchess of Windsor in the made-for-TV The Two Mrs. Grenvilles (1983). A more grounded-in-reality Sian was seen as Ann Smiley in the 1982 miniseries Smiley's People; most recently, she was the American aristocrat Mrs. Archer in The Age of Innocence (1993). A favorite daughter of her home country, Sian Phillips has served in the Welsh Arts Council and as a governor of the National Theatre of Wales, and has received the Welsh theatre world's ultimate accolade: a membership in the Honorary Order of Druids.

Trivia: With his rugged good looks and icon status, Clint Eastwood was long one of the few actors whose name on a movie marquee could guarantee a hit. Less well-known for a long time (at least until he won the Academy Award as Best Director for Unforgiven), was the fact that Eastwood was also a producer/director, with an enviable record of successes. Born May 31, 1930, in San Francisco, Eastwood worked as a logger and gas-station attendant, among other things, before coming to Hollywood in the mid-'50s. After his arrival, he played small roles in several Universal features (he's the pilot of the plane that napalms the giant spider at the end of Tarantula [1955]) before achieving some limited star status on the television series Rawhide. Thanks to the success of three Italian-made Sergio Leone Westerns -- A Fistful of Dollars (1964), For a Few Dollars More (1965), and The Good, the Bad and the Ugly (1966) -- Eastwood soon exchanged this limited status for bona fide international stardom.Upon his return to the U.S., Eastwood set up his own production company, Malpaso, which had a hit right out of the box with the revenge Western Hang 'Em High (1968). He expanded his relatively limited acting range in a succession of roles -- most notably with the hit Dirty Harry (1971) -- during the late '60s and early '70s, and directed several of his most popular movies, including 1971's Play Misty for Me (a forerunner to Fatal Attraction), High Plains Drifter (1973, which took as its inspiration the tragic NYC murder of Kitty Genovese), and The Outlaw Josey Wales (1976). Though Eastwood became known for his violent roles, the gentler side of his persona came through in pictures such as Bronco Billy (1980), a romantic comedy that he directed and starred in. As a filmmaker, Eastwood learned his lessons from the best of his previous directors, Don Siegel and Sergio Leone, who knew just when to add some stylistic or visual flourish to an otherwise straightforward scene, and also understood the effect of small nuances on the big screen. Their approaches perfectly suited Eastwood's restrained acting style, and he integrated them into his filmmaking technique with startling results, culminating in 1993 with his Best Director Oscar for Unforgiven (1992). Also in 1993, Eastwood had another hit on his hands with In the Line of Fire. In 1995, he scored yet again with his film adaptation of the best-selling novel The Bridges of Madison County, in which he starred opposite Meryl Streep; in addition to serving as one of the film's stars, he also acted as its director and producer.Aside from producing the critical and financial misstep The Stars Fell on Henrietta in 1995, Eastwood has proven to be largely successful in his subsequent efforts. In 1997, he produced and directed the film adaptation of John Berendt's tale of Southern murder and mayhem, Midnight in the Garden of Good and Evil, and he followed that as the director, producer, and star of the same year's Absolute Power, 1999's True Crime, and 2000's Space Cowboys. With Eastwood's next movie, Blood Work (2002), many fans pondered whether the longtime actor/director still had what it took to craft a compelling film. Though some saw the mystery thriller as a fair notch in Eastwood's belt, many complained that the film was simply too routine, and the elegiac movie quickly faded at the box office. If any had voiced doubt as to Eastwood's abilities as a filmmaker in the wake of Blood Work, they were in for quite a surprise when his adaptation of the popular novel Mystic River hit screens in late 2003. Featuring a stellar cast that included Sean Penn, Tim Robbins, and Kevin Bacon, Mystic River was a film that many critics and audiences cited as one of the director's finest. A downbeat meditation on violence and the nature of revenge, the film benefited not only from Eastwood's assured eye as a director, but also from a screenplay (by Brian Helgeland) that remained fairly faithful to Dennis Lehane's novel and from severely affecting performances by its three stars -- two of whom (Penn and Robbins) took home Oscars for their efforts. With Eastwood's reputation as a quality director now cemented well in place thanks to Mystic River's success, his remarkable ability to craft a compelling film was nearly beginning to eclipse his legendary status as an actor in the eyes of many. Indeed, few modern directors could exercise the efficiency and restraint that have highlighted Eastwood's career behind the camera, as so beautifully demonstrated in his 2004 follow-up, Million Dollar Baby. It would have been easy to layer the affecting tale of a young female boxer's rise from obscurity with the kind of pseudo-sentimental slop that seems to define such underdog-themed films, but it was precisely his refusal to do so that ultimately found the film taking home four of the six Oscars for which it was nominated at the 77th Annual Academy Awards -- including Best Director and Best Picture. Eastwood subsequently helmed two interrelated 2006 features that told the story of the Battle of Iwo Jima from different angles. The English-language Flags of Our Fathers relayed the incident from the American end, while the Japanese-language Letters from Iwo Jima conveyed the event from a Japanese angle. Both films opened to strong reviews and were lauded with numerous critics and industry awards, with Letters capturing the Golden Globe for Best Foreign Language film before being nominated for a Best Picture Academy Award. Nowhere near slowing down, Eastwood would direct and star in the critically acclaimed Gran Torino, as well as helming critical favorites like Invictus, the Changeling, Hereafter, and J. Edgar, racking up numerous awards and nominations. In 2014, he helmed the film adaptation of the Broadway musical Jersey Boys, to mixed reviews, and the biographical adaptation American Sniper.A prolific jazz pianist who occasionally shows up to play piano at his Carmel, CA restaurant, The Hog's Breath Inn, Eastwood has also contributed songs and scores to several of his films, including The Bridges of Madison County and Mystic River. Many saw his critically championed 1988 film Bird, starring Forest Whitaker (on the life of Charlie "Bird" Parker), as the direct product of this interest. Eastwood also served as the mayor of Carmel, CA, from 1986 until 1988.