Trivia: Teenaged model Millie Perkins was brought to Hollywood in a torrent of publicity when she was selected over hundreds of other applicants to play the starring role in George Stevens' 1959 filmization of Diary of Anne Frank. A 20th Century Fox contract resulted from this auspicious debut, but Diary remained her career high point. Periodically retiring from films in the 1960s, Perkins was briefly brought back before the cameras for 1968's Wild in the Streets, which was scripted by her second husband, Robert Thom, (her first was Dean Stockwell). Millie Perkins continued to make sporadic film appearances into the 1990s, notably as Charlie Sheen's mother in Wall Street (1987); she also played the mother of Elvis Presley (with whom she co-starred in 1961's Wild in the Country) on the 1990 TV series Elvis.

Trivia: The son of esteemed actor Rudolph Schildkraut, he trained for the stage under Albert Basserman -- his father's rival. Accompanying his father on tour, he went to the U.S. in 1910 and remained till 1913; there he enrolled at the American Academy of Dramatic Arts. Back in Germany, Schildkraut joined his father in the Berlin stage company of Max Reinhardt and quickly rose to stardom. He moved to the U.S. in 1920; within a year he was a major matinee idol on Broadway. Meanwhile, having appeared in a small number of German films, he began playing suave leading men in American silents; by the mid 1930s he had moved into character roles, often villainous. He remained a busy screen actor (between stage roles) until 1948, when he took a decade off from movies; he returned to the screen to reprise his stage role in the film version of The Diary of Anne Frank (1959), following which he appeared in only two more movies. For his portrayal of Captain Dreyfus in The Life of Emile Zola (1937), he won a Best Supporting Actor Oscar. He authored an autobiography, My Father and I (1959).

Trivia: American actress Shelley Winters was the daughter of a tailor's cutter; her mother was a former opera singer. Winters evinced her mom's influence at age four, when she made an impromptu singing appearance at a St. Louis amateur night. When her father moved to Long Island to be closer to the New York garment district, Winters took acting lessons at the New School for Social Research and the Actors Studio. Short stints as a model and a chorus girl led to her Broadway debut in the S.J. Perelman comedy The Night Before Christmas in 1940. Winters signed a Columbia Pictures contract in 1943, mostly playing bits, except when loaned to United Artists for an important role in Knickerbocker Holiday (1944). Realizing she was getting nowhere, she took additional acting instructions and performed in nightclubs.The breakthrough came with her role as a "good time girl" murdered by insane stage star Ronald Colman in A Double Life (1947). Her roles became increasingly more prominent during her years at Universal-International, as did her offstage abrasive attitude; the normally mild-mannered James Stewart, Winters' co-star in Winchester '73 (1950), said after filming that the actress should have been spanked. Winters' performance as the pathetic factory girl impregnated and then killed by Montgomery Clift in A Place in the Sun (1951) won her an Oscar nomination; unfortunately, for every Place in the Sun, her career was blighted by disasters like Behave Yourself (1951).Disheartened by bad films and a turbulent marriage, Winters returned to Broadway in A Hatful of Rain, in which she received excellent reviews and during which she fell for her future third husband, Anthony Franciosa. Always battling a weight problem, Winters was plump enough to be convincing as middle-aged Mrs. Van Daan in The Diary of Anne Frank (1959), for which Winters finally got her Oscar. In the 1960s, Winters portrayed a brothel madam in two films, The Balcony (1963) and A House Is Not a Home (1964), roles that would have killed her career ten years earlier, but which now established her in the press as an actress willing to take any professional risk for the sake of her art. Unfortunately, many of her performances in subsequent films like Wild in the Streets (1968) and Bloody Mama (1970) became more shrill than compelling, somewhat lessening her standing as a performer of stature.During this period, Winters made some fairly outrageous appearances on talk shows, where she came off as the censor's nightmare; she also made certain her point-of-view wouldn't be ignored, as in the moment when she poured her drink over Oliver Reed's head after Reed made a sexist remark on The Tonight Show. Appearances in popular films like The Poseidon Adventure (1972) and well-received theater appearances, like her 1974 tour in Effect of Gamma Rays on Man-in-the-Moon Marigolds, helped counteract such disappointments as the musical comedy Minnie's Boys (as the Marx Brothers' mother) and the movie loser Flap (1970). Treated generously by director Paul Mazursky in above-average films like Blume in Love (1974) and Next Stop Greenwich Village (1977), Winters managed some excellent performances, though she still leaned toward hamminess when the script was weak. Shelley Winters added writing to her many achievements, penning a pair of tell-all autobiographies which delineate a private life every bit as rambunctious as some of Winters' screen performances.The '90s found a resurgence in Winters' career, as she was embraced by indie filmmakers (for movies like Heavy and The Portrait of a Lady), although she found greater fame in a recurring role on the sitcom Roseanne. She died of heart failure at age 85 in Beverly Hills, CA, in early 2006.

Trivia: At 12 he began performing on Los Angeles children's TV shows, then at 14 he debuted onscreen in De Sica' Stazione Termini/Indiscretion of an American Wife (1953). Beymer continued appearing in films for the next decade, progressing from boy roles to juvenile leads. In 1963 he quit movies and went to New York to study at the Actors Studio. In 1964 he participated in the drive to register black voters in Mississippi; he made a documentary about the event, and his work won a prize at the Mannheim Festival. Beymer later directed a short film, A Very Special Day, followed by the feature The Innerview (1974), which he also produced, wrote, filmed, and edited. He returned to occasional screen acting in the '80s and '90s, and was a regular on the TV series Twin Peaks.

Trivia: Austrian actress Gusti Huber was born and raised in Vienna, getting her professional start with the Duetsche Volkstheatre. From there she appeared in both Austrian and German films before emigrating to the United States in the mid-'40s. There she began appearing in theater, where her best-remembered performance was as Edith Frank in The Diary of Anne Frank, a role she repeated in the 1959 film. Huber also appeared on television, making guest appearances on such distinguished series as Playhouse 90 and Studio One.

Trivia: Bald-pated, mustachioed Canadian character actor Lou Jacobi began entertaining theatre audiences as a child. Though many of his characterizations were urban-American ethnic types, Jacobi was well into his career before ever setting foot on an American stage. Among his more memorable screen roles were the explosive Mr. Van Daan in The Diary of Anne Frank (1959) and the philosophical Parisian bartender Moustache in Irma La Douce (1963). After his cameo as a middle-aged transvestite in Woody Allen's Everything You Always Wanted to Know About Sex, But Were Afraid to Ask (1972), the hapless Mr. Jacobi found himself called upon to don women's garb on a nearly-weekly basis for the various TV variety series of the early 1970s. Lou Jacobi's other television work included supporting parts on The Dean Martin Show, Somerset and Melba, and the lead in the 1976 sitcom Ivan the Terrible.

Trivia: Actress Diane Baker's well-scrubbed, all-American beauty has frequently been employed as a cool veneer for film characters of smoldering passions. The daughter of actress Dorothy Harrington, Diane was studying at USC when she was tapped for her first film role as Millie Perkins' sister in 20th Century-Fox's The Diary of Anne Frank (1959); the studio then cast Diane as Pat Boone's "girl back home," who didn't get to go along on Boone's Journey to the Center of the Earth (1959). She remained at Fox until 1962, essaying the title role in the studio's re-remake of Tess of the Storm Country (1961). Her most famous screen assignment was at Columbia, where she portrayed axe murderess Joan Crawford's supposedly well-balanced daughter in Straitjacket (1963). Diane became a documentary director in the 1970s with Ashanya, and a producer with Never Never Land (1982). The best of Diane Baker's latter-day roles was the media-savvy politico mother of the kidnap victim in Silence of the Lambs (1991).

Trivia: From 1939 until his death in 1960, gangly, balding Douglas Spencer could be spotted in unbilled film roles as doctors and reporters. By the early '50s, Spencer had graduated to supporting parts, often in films with a science fiction or fantasy theme. One of his lengthier assignments was Simms, the seance-busting reporter in Houdini (1953). Douglas Spencer's best-ever film role was bespectacled reporter Ned "Scotty" Scott in the 1951 sci-fi classic The Thing, wherein he closed the film with the immortal cautionary words "Keep watching the skies!"

Trivia: Born Isaiah Edward Leopold, Wynn ran away from home at 15 to work as a utility boy for a stage company, with which he also acted. The company failed and he returned home. Shortly thereafter, he moved to New York, soon becoming a vaudeville comic headliner. In 1914, he began appearing with the Ziegfeld Follies, billed as the Perfect Fool; meanwhile, he got into a widely publicized feud with another Ziegfeld star, W.C. Fields. After organizing an actors' strike in 1919, he was boycotted by the Shuberts. At the height of his popularity as a Broadway comic star, he got around the boycott by writing and producing his own shows, which were both critical and popular successes. Having appeared in a few films, in the '30s he increased his popularity on radio as the Texaco Fire Chief. At the end of the '30s, several of his business ventures collapsed, including a radio chain; he suffered a nervous breakdown and his career seemed over. He bounced back on Broadway in the '40s. In 1949, he won the first TV Emmy Award as Best Actor in a Series. Out of work in the '50s, when his comedy style had become dated, he was encouraged by his son -- actor Keenan Wynn -- to launch a new career as a film actor. From 1957 to 1967, he was busy onscreen as a dramatic character actor, and for his work in The Diary of Anne Frank (1959), he received a Best Supporting Actor Oscar nomination. He also appeared in TV dramas.

Trivia: Diminutive, frequently mustached character actor Charles Wagenheim made the transition from stage to screen in or around 1940. Wagenheim's most memorable role was that of "The Runt" in Meet Boston Blackie (1941), a part taken over by George E. Stone in the subsequent "Boston Blackie" B-films. Generally cast in unsavory bit parts, Wagenheim's on-screen perfidy extended from Hitchcock's Foreign Correspondent (1940) to George Stevens' Diary of Anne Frank (1959), in which, uncredited, he played the sneak thief who nearly gave away the hiding place of the Frank family. Wagenheim kept his hand in the business into the 1970s in films like The Missouri Breaks (1976). In 1979, 83-year-old Charles Wagenheim was bludgeoned to death by an intruder in his Hollywood apartment, five days before another veteran actor, Victor Kilian, met the same grisly fate.