Trivia: Richard Basehart was too much of an actor (and almost too good an actor) to ever be a movie star -- his range was sufficient to allow him to play murderers, psychopaths, sociopaths, and would-be suicides in 20 years' worth of theatrical films in totally convincing fashion, but also to portray a hero in the longest-running science fiction/adventure series on network television. Without ever achieving stardom, he became one of the most respected performers of his generation in theater, film, and television. Born John Richard Basehart in Zanesville, OH, in 1914, he spent a part of his childhood in an orphanage after the death of his mother, when his father, Harry Basehart, found himself unable to look after the four children left in his care. The younger Basehart considered a career in journalism like his father, but when he was 13, he began acting in small roles in a local theater company and came to enjoy performing. In the mid-'30s, he joined Jasper Deeter's famed Hedgerow Theater company in Rose Valley, PA. By the end of the 1930s, he'd set his sights on a Broadway career and moved to New York. During the 1939 season, while working in stock, Basehart met an actress named Stephanie Klein, and the two were married in early 1940. He continued trying to establish a foothold in New York and in 1942, joined Margaret Webster's theater company. Basehart's breakthrough role came during 1945 in the play The Hasty Heart, in which director Bretaigne Windust cast him in the central role of the proud, dying young Scottish soldier. Basehart won the 1945 New York Drama Critics Award for his performance and was named the most promising newcomer of the season. Not only did Broadway producers take notice of Basehart but so did Hollywood, and he was soon signed to a movie contract. Thus began a screen career that lasted nearly 40 years, starting with Repeat Performance (1947), a thriller starring Joan Leslie. He followed this with Cry Wolf (1947), an adventure yarn also starring Barbara Stanwyck, Errol Flynn, and Geraldine Brooks. Basehart was unusually careful as a new Hollywood performer to vary his roles and avoid getting typecast. His first of what proved a string of memorable portrayals was in He Walked By Night (1948), a fact-based thriller in which the actor played a brilliant but sociopathic electronics expert, responsible for a string of burglaries and for killing a police officer. Viewers who grew up knowing Basehart as the heroic figure on the series Voyage to the Bottom of the Sea in the 1960s are often startled to see him 20 years earlier in He Walked By Night as an almost feral presence, quietly fierce, threatening and stealthy in his efforts to escape detection and capture. Over the next two years, Basehart essayed a multitude of roles, in contemporary dramatic subjects and period dramas, the most interesting of which was Anthony Mann's Reign of Terror (1949), in which he portrayed Maximilien Robespierre, one of the chief architects of the bloodbath that followed in the wake of the French Revolution. In 1950, Basehart played one of the most difficult film roles of his career when he was cast in the fact-based movie Fourteen Hours, playing a young man who spends 14 hours on the ledge of an office building, threatening to jump. It was during the shooting of this movie that Basehart's wife, Stephanie, was taken ill with what proved to be a brain tumor, and died very suddenly. He finished work on the film and then left the United States, going to Italy where he began putting his life back together. This began when he met the actress Valentina Cortese, whom he married in 1951. The two worked together in one movie, The House on Telegraph Hill, directed by Robert Wise at 20th Century Fox, in which Basehart played the villain trying to murder Cortese for her estate. Basehart returned to Hollywood only intermittently for the next nine years, and his next appearance in an American movie wasn't until 1953, when he worked in Titanic, starring Barbara Stanwyck and Clifton Webb. It was during the decade that Basehart made his home in Europe that the actor became multilingual, and developed a serious following over there as a leading man; while other, older American performers were entering the final legs of their careers making pictures in France, Italy, or England, he was making important pictures and playing great roles, as the doomed, gentle clown in Federico Fellini's La Strada; a basically honest man driven into crime in The Good Die Young; the movie director threatened by a blackmailer in Joseph Losey's Finger of Guilt, and even an action-adventure hero in an Italian-made version of Cartouche (1957). John Huston specifically chose Basehart for the central role of Ishmael in his superb 1956 film version of Moby Dick. In 1957, Basehart tried reestablishing his Hollywood acting credentials with his portrayal of a conscience-stricken American officer in the movie Time Limit, which got good notices but proved to be a one-off American screen credit. In 1960, the actor divorced his second wife and left Italy behind. He returned to live permanently in America and restart his career, and began a new life, marrying again in 1962. He found that film roles weren't easily forthcoming, however -- the only part that came his way was the title role in Stuart Heisler's 1962 drama Hitler, in which Basehart gave an unusually complex, cerebral portrayal of the Nazi leader. He made numerous appearances in dramatic series such as Combat and Naked City, and television anthology shows including Playhouse 90 and Hallmark Hall of Fame. In 1964, Basehart accepted the offer of a starring role on a television series, beginning a four-year run on the Irwin Allen-produced Voyage to the Bottom of the Sea, portraying Admiral Harriman Nelson. Thus began the steadiest work of his career, more than 100 episodes made Basehart a television star. He appeared in one movie during this period, John Sturges' thriller The Satan Bug (1965), in which he played the villain. Following the cancellation of Voyage to the Bottom of the Sea, Basehart returned to acting on-stage, interspersed with work in made-for-television movies and occasional feature films, such as Rage (1972), directed by George C. Scott. He won critical acclaim for his work in the drama The Andersonville Trial, directed by George C. Scott, portraying Lt. Col. Henry Wirz, the commandant of the notorious Confederate prisoner of war camp, and made the rounds of guest star roles in television shows, perhaps most memorably the "Dagger of the Mind" episode of Columbo. Basehart and his third wife, Diana, also became known for their dedication to the cause of animal rights, founding the organization Actors and Others for Animals. During the final years of his life, he did some acting on television series such as Knight Rider and appeared in movies such as the hit Being There, but he was also very much in demand as a narrator, working on Vietnam: The Ten Thousand Day War (1980), among other projects. It was as a narrator that he made his final public appearance, at the closing ceremonies of the 1984 Summer Olympics. Basehart suffered a series of strokes, and passed away soon after.

Trivia: Universally regarded as one of Western Europe's foremost stage actors, Oskar Werner was 18 years old when he made his stage bow at the Burgtheater in his native Vienna. A lifelong pacifist, Werner did everything he could to avoid conscription in the Axis army during World War II; when he finally was forced into a uniform, he deserted at the earliest opportunity. After the war, Werner resumed his theatrical career, only reluctantly making his first film in 1948; "I am married to the theater, and the films are only my mistress" he would later declare. In 1951, he made his English-language film debut as "Happy," an enigmatic German POW, in 20th Century-Fox's Decision Before Dawn. When Fox reneged on its promise to develop Werner into a Hollywood star, he went back to his true love, the theatre, vowing to only appear in films that intrigued him. In 1955, he essayed the title role in Mozart, and also played a smaller but no less significant part as the student with the scarf in Ophuls' Lola Montes. Then it was back to the stage, culminating with his formation of Theatre Ensemble Oskar Werner in 1959. Werner's definitive screen performance was the romantic intellectual Jules in Francois Truffaut's Jules et Jim (1962), though it was his portrayal of the philosophical Dr. Schumann in Ship of Fools (1965) that earned the actor his only Oscar nomination. His friendship with Truffaut soured after their second collaboration, Fahrenheit 451 (1967); exhibiting profound disillusionment, Truffaut complained (not without justification) that Werner had become a "cold" performer. Oskar Werner died at the age of 62, just before he was scheduled to deliver a lecture at a German drama club.

Trivia: A rugged, craggy-faced, bushy-browed lead actor and character player, he began his stage career in 1937, which was interrupted by service in World War Two. He debuted onscreen in Winged Victory (1944), but did not begin regularly appearing in films until 1949; he was usually cast as grim, determined, humorless men in action features. From 1950-60 he was married to actress Bette Davis, with whom he appeared in three films. His many TV credits include a role in the series Young Dr. Kildare. He was politically active in liberal causes, and played a part in rejuvenating Maine's Democratic party; he also helped elect Edmund Muskie to governor of that state in 1953. In 1965 he took part in the Selma-Montgomery civil rights march. At odds with President Johnson's Vietnam policy, he switched parties and in 1968 tried unsuccessfully to win a Republican nomination to the Maine legislature as an anti-war, pro-environmentalist primary candidate. He authored an autobiography, Bette, Rita and the Rest of My Life (1989); "Rita" refers to actress Rita Hayworth, with whom he'd had a romantic affair.

Trivia: German actress Hildegarde Neff was enrolled right out of high school with UFA Studios' Training Program in preparation for a film career. After a brief period as an artist in an animation firm, she commenced her movie acting with 1945's Fahrt ins Gluck. One year later, Hildegarde attained fame beyond the boundaries of Germany for her role in Murderers Among Us (1946). An actress first and star second, Ms. Neff divided her time between films and stage work for the Deutsches Theatre. A potential 1948 contract with American producer David O. Selznick (prompted by the actress' appearance on a Life magazine cover) came to nothing, but the publicity attending her nude scene in the 1950 German film The Sinner won the actress a pact with 20th Century-Fox. In 1951, Hildegarde appeared in Decision Before Dawn, a Fox picture shot primarily in Germany. The studio changed the spelling of her name for marquee purposes - it had been "Knef" on her birth certificate and in her German appearances - and cast her in such "alluring European" roles as the depraved Countess Liz in Snows of Kilimanjaro (1952). Disturbed that she was perceived as a mere foreign "type" by American producers, Hildegarde returned to Europe in 1952. Her next significant success was back in the USA in the 1955 Broadway musical Silk Stockings, which made her a favorite in New York but failed to convince Hollywood that she was anything more than a pretty commodity. As "Hildegarde Knef" again, the actress spent the '60s performing in her nightclub act both in the US and the Continent, and acting occasionally in second-rate films; these were years blighted by poverty and the loss of fair-weather friends. She made a major dramatic comeback in 1970 with a European TV production of Jean Cocteau's La Voix Humaine, and the next year published her best-selling autobiography, The Gift Horse. Hildegarde Neff/Knef's second book came out in 1975: The Verdict was a no-nonsense account of her ongoing struggles with cancer.

Trivia: German character actor O.E. Hasse appeared in many German and European films over his 5-decade career. After receiving a law degree, Hasse, born Otto Eduard Hasse, began studying dramatic arts under Max Reinhardt. He got his start professionally at the Kammerspiele Theater in Munich and then at the Deutsches Theatre in Berlin. Hasse made his screen debut in the early '30s and following WW II began working in international productions.

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: American actor/director George Tyne began his performing career under his own name, Martin "Buddy" Yarus, in films as varied as Errol Flynn's Objective Burma (1945) and Laurel and Hardy's Dancing Masters (1943). Under the new soubriquet George Tyne, the actor had sizable roles in a multitude of films from 1946 to the late '70s. One of his better parts during this period was as Pfc. Harris in the splashy John Wayne war epic Sands of Iwo Jima (1949); he could also be seen in Thieves' Highway (1949), No Way Out (1950), Marlowe (1969) and I Will, I Will...For Now (1976). Turning increasingly to TV directing in the '60s, George Tyne worked extensively behind the camera on such situation comedies as The Ghost and Mrs. Muir (1968-70), Love American Style (1969-72) and Sanford and Son (1972-77).

Trivia: Though he invariably looked sickly and tubercular, Polish/German actor Klaus Kinski rose to fame in roles calling for near-manic aggressiveness. His war career consisted primarily of a year and a half in a British POW camp. After this experience, Kinski took to the theater, where he rapidly built a reputation for on-stage brilliance and off-stage emotional instability. He made his first German film, Morituri, in 1948; three years later, he made his English-language movie debut with a fleeting bit in Decision Before Dawn (1951). Villainy was Kinski's film stock in trade during the 1950s and '60s, with several appearances in Germany's Edgar Wallace second-feature series and in such Italian spaghetti Westerns as For a Few Dollars More (1965). International stardom came Kinski's way via his off-the-beam appearances in the films of director Werner Herzog, notably Aguirre, the Wrath of God (1973), Woyzeck (1978), Nosferatu (1979), and Fitzcarraldo (1982). With 1989's Paganini, Kinski proved to be as colorful and chaotic a director as he was an actor. Kinski was the father of actress Nastassja Kinski, though the two seldom saw each other and were never close. He died in 1991.

Trivia: The son of Yugoslav immigrants, Karl Malden labored in the steel mills of Gary, Indiana before enrolling in Arkansas State Teachers College. While not a prime candidate for stardom with his oversized nose and bullhorn voice, Malden attended Chicago's Goodman Dramatic School, then moved to New York, where he made his Broadway bow in 1937. Three years later he made his film debut in a microscopic role in They Knew What They Wanted (1940), which also featured another star-to-be, Tom Ewell. While serving in the Army Air Force during World War II, Malden returned to films in the all-serviceman epic Winged Victory (1944), where he was billed as Corporal Karl Malden. This led to a brief contract with 20th Century-Fox -- but not to Hollywood, since Malden's subsequent film appearances were lensed on the east coast. In 1947, Malden created the role of Mitch, the erstwhile beau of Blanche Dubois, in Tennessee Williams' Broadway play A Streetcar Named Desire; he repeated the role in the 1951 film version, winning an Oscar in the process. For much of his film career, Malden has been assigned roles that called for excesses of ham; even his Oscar-nominated performance in On the Waterfront (1954) was decidedly "Armour Star" in concept and execution. In 1957, he directed the Korean War melodrama Time Limit, the only instance in which the forceful and opinionated Malden was officially credited as director. Malden was best known to TV fans of the 1970s as Lieutenant Mike Stone, the no-nonsense protagonist of the longrunning cop series The Streets of San Francisco. Still wearing his familiar Streets hat and overcoat, Malden supplemented his income with a series of ads for American Express. His commercial catchphrases "What will you do?" and "Don't leave home without it!" soon entered the lexicon of TV trivia -- and provided endless fodder for such comedians as Johnny Carson. From 1989-92, Malden served as president of the Academy of Motion Picture Arts and Sciences.