Trivia: James Stewart was the movies' quintessential Everyman, a uniquely all-American performer who parlayed his easygoing persona into one of the most successful and enduring careers in film history. On paper, he was anything but the typical Hollywood star: Gawky and tentative, with a pronounced stammer and a folksy "aw-shucks" charm, he lacked the dashing sophistication and swashbuckling heroism endemic among the other major actors of the era. Yet it's precisely the absence of affectation which made Stewart so popular; while so many other great stars seemed remote and larger than life, he never lost touch with his humanity, projecting an uncommon sense of goodness and decency which made him immensely likable and endearing to successive generations of moviegoers.Born May 20, 1908, in Indiana, PA, Stewart began performing magic as a child. While studying civil engineering at Princeton University, he befriended Joshua Logan, who then headed a summer stock company, and appeared in several of his productions. After graduation, Stewart joined Logan's University Players, a troupe whose membership also included Henry Fonda and Margaret Sullavan. He and Fonda traveled to New York City in 1932, where they began winning small roles in Broadway productions including Carrie Nation, Yellow Jack, and Page Miss Glory. On the recommendation of Hedda Hopper, MGM scheduled a screen test, and soon Stewart was signed to a long-term contract. He first appeared onscreen in a bit role in the 1935 Spencer Tracy vehicle The Murder Man, followed by another small performance the next year in Rose Marie.Stewart's first prominent role came courtesy of Sullavan, who requested he play her husband in the 1936 melodrama Next Time We Love. Speed, one of six other films he made that same year, was his first lead role. His next major performance cast him as Eleanor Powell's paramour in the musical Born to Dance, after which he accepted a supporting turn in After the Thin Man. For 1938's classic You Can't Take It With You, Stewart teamed for the first time with Frank Capra, the director who guided him during many of his most memorable performances. They reunited a year later for Mr. Smith Goes to Washington, Stewart's breakthrough picture; a hugely popular modern morality play set against the backdrop of the Washington political system, it cemented the all-American persona which made him so adored by fans, earning a New York Film Critics' Best Actor award as well as his first Oscar nomination.Stewart then embarked on a string of commercial and critical successes which elevated him to the status of superstar; the first was the idiosyncratic 1939 Western Destry Rides Again, followed by the 1940 Ernst Lubitsch romantic comedy The Shop Around the Corner. After The Mortal Storm, he starred opposite Katherine Hepburn and Cary Grant in George Cukor's sublime The Philadelphia Story, a performance which earned him the Best Actor Oscar. However, Stewart soon entered duty in World War II, serving as a bomber pilot and flying 20 missions over Germany. He was highly decorated for his courage, and did not fully retire from the service until 1968, by which time he was an Air Force Brigadier General, the highest-ranking entertainer in the U.S. military. Stewart's combat experiences left him a changed man; where during the prewar era he often played shy, tentative characters, he returned to films with a new intensity. While remaining as genial and likable as ever, he began to explore new, more complex facets of his acting abilities, accepting roles in darker and more thought-provoking films. The first was Capra's 1946 perennial It's a Wonderful Life, which cast Stewart as a suicidal banker who learns the true value of life. Through years of TV reruns, the film became a staple of Christmastime viewing, and remains arguably Stewart's best-known and most-beloved performance. However, it was not a hit upon its original theatrical release, nor was the follow-up Magic Town -- audiences clearly wanted the escapist fare of Hollywood's prewar era, not the more pensive material so many other actors and filmmakers as well as Stewart wanted to explore in the wake of battle. The 1948 thriller Call Northside 777 was a concession to audience demands, and fans responded by making the film a considerable hit. Regardless, Stewart next teamed for the first time with Alfred Hitchcock in Rope, accepting a supporting role in a tale based on the infamous Leopold and Loeb murder case. His next few pictures failed to generate much notice, but in 1950, Stewart starred in a pair of Westerns, Anthony Mann's Winchester 73 and Delmer Daves' Broken Arrow. Both were hugely successful, and after completing an Oscar-nominated turn as a drunk in the comedy Harvey and appearing in Cecil B. De Mille's Academy Award-winning The Greatest Show on Earth, he made another Western, 1952's Bend of the River, the first in a decade of many similar genre pieces.Stewart spent the 1950s primarily in the employ of Universal, cutting one of the first percentage-basis contracts in Hollywood -- a major breakthrough soon to be followed by virtually every other motion-picture star. He often worked with director Mann, who guided him to hits including The Naked Spur, Thunder Bay, The Man From Laramie, and The Far Country. For Hitchcock, Stewart starred in 1954's masterful Rear Window, appearing against type as a crippled photographer obsessively peeking in on the lives of his neighbors. More than perhaps any other director, Hitchcock challenged the very assumptions of the Stewart persona by casting him in roles which questioned his character's morality, even his sanity. They reunited twice more, in 1956's The Man Who Knew Too Much and 1958's brilliant Vertigo, and together both director and star rose to the occasion by delivering some of the best work of their respective careers. Apart from Mann and Hitchcock, Stewart also worked with the likes of Billy Wilder (1957's Charles Lindbergh biopic The Spirit of St. Louis) and Otto Preminger (1959's provocative courtroom drama Anatomy of a Murder, which earned him yet another Best Actor bid). Under John Ford, Stewart starred in 1961's Two Rode Together and the following year's excellent The Man Who Shot Liberty Valance. The 1962 comedy Mr. Hobbs Takes a Vacation was also a hit, and Stewart spent the remainder of the decade alternating between Westerns and family comedies. By the early '70s, he announced his semi-retirement from movies, but still occasionally resurfaced in pictures like the 1976 John Wayne vehicle The Shootist and 1978's The Big Sleep. By the 1980s, Stewart's acting had become even more limited, and he spent much of his final years writing poetry; he died July 2, 1997.

Trivia: Ruddy-faced British star Peter Finch was raised by relatives in France, India, and Australia after his parents divorced when he was two. He had several odd jobs during the Depression before working as a comedian's stooge in vaudeville. He began working in the legitimate theater in 1935 then in 1936 debuted onscreen in the Australian film Dad and Dave Come to Town. While sporadically appearing in Australian films over the next decade-plus, Finch continued working on stage and formed his own company; eventually he also became Australia's top radio actor. His work impressed Laurence Olivier, who brought him to London in 1949 where he performed impressively on the stage and landed supporting roles in numerous films. In the mid-'50s he began getting better film roles, becoming one of Britain's leading male stars. Between 1956-71 he won the British Film Academy "Best Actor" award four times. For his portrayal of a gay doctor in Sunday Bloody Sunday (1971) he received a "Best Actor" Oscar nomination. His last film was Network (1976); during a promotional campaign for the film, he died of a massive coronary. That year he was posthumously awarded the Oscar for "Best Actor"--making him the first actor in Academy Award history to do so.

Trivia: One of England's most respected actors and directors, Sir Richard Attenborough made numerous contributions to world cinema both in front of and behind the camera. The son of a Cambridge school administrator, Attenborough began dabbling in theatricals at the age of 12. While attending London's Royal Academy of Dramatic Art in 1941, he turned professional, making his first stage appearance in a production of Eugene O'Neill's Ah, Wilderness! He made his screen debut as the Young Sailor in Noel Coward and David Lean's In Which We Serve (1943), before achieving his first significant West End success as the punkish, cowardly, petty criminal Pinkie Brown in Brighton Rock. After three years of service with the Royal Air Force, Attenborough rose to film stardom in the 1947 film version of Brighton Rock -- a role that caused him to be typecast as a working-class misfit over the next few years. One of the best of his characterizations in this vein can be found in The Guinea Pig (1948), in which the 26-year-old Attenborough was wholly credible as a 13-year-old schoolboy. As the '50s progressed, he was permitted a wider range of characters in such films as The Magic Box (1951), The Ship That Died of Shame (1955), and Private's Progress (1956). In 1959, he teamed up with director Bryan Forbes to form Beaver Films. Before the partnership dissolved in 1964, Attenborough had played such sharply etched personalities as Tom Curtis in The Angry Silence (1960) and Bill Savage in Séance on a Wet Afternoon (1964); he also served as producer for the Forbes-directed Whistle Down the Wind (1962) and The L-Shaped Room (1962). During the '60s, Attenborough exhibited a fondness for military roles: POW mastermind Bartlett in The Great Escape (1963); hotheaded ship's engineer Frenchy Burgoyne in The Sand Pebbles (1966); and Sgt. Major Lauderdale in Guns at Batasi (1964), the performance that won him a British Academy Award. He also played an extended cameo in Doctor Dolittle (1967), and sang "I've Never Seen Anything Like It in My Life," a paean to the amazing Pushmi-Pullyu. This boisterous musical performance may well have been a warm-up for Attenborough's film directorial debut, the satirical anti-war revue Oh, What a Lovely War (1969). He subsequently helmed the historical epics Young Winston (1972) and A Bridge Too Far (1977), then scaled down his technique for the psychological thriller Magic (1978), which starred his favorite leading man, Anthony Hopkins. With more and more of his time consumed by his directing activities, Attenborough found fewer opportunities to act. One of his best performances in the '70s was as the eerily "normal" real-life serial killer Christie in 10 Rillington Place (1971). In 1982, Attenborough brought a 20-year dream to fruition when he directed the spectacular biopic Gandhi. The film won a raft of Oscars, including a Best Director statuette for Attenborough; he was also honored with Golden Globe and Director's Guild awards, and, that same year, published his book In Search of Gandhi, another product of his fascination with the Indian leader. All of Attenborough's post-Gandhi projects were laudably ambitious, though none reached the same pinnacle of success. Some of the best of his latter-day directorial efforts were Cry Freedom, a 1987 depiction of the horrors of apartheid; 1992's Chaplin, an epic biopic of the great comedian; and Shadowlands (1993), starring Anthony Hopkins as spiritually motivated author C.S. Lewis. Attenborough returned to the screen during the '90s, acting in avuncular character roles, the most popular of which was the affable but woefully misguided billionaire entrepreneur John Hammond in Steven Spielberg's Jurassic Park (1993), a role he reprised for the film's 1997 sequel. Other notable performances included the jovial Kriss Kringle in Miracle on 34th Street (1994) and Sir William Cecil in Elizabeth (1998). The brother of naturalist David Attenborough and husband of actress Sheila Sim, he was knighted in 1976 and became a life peer in 1993. Attenborough has chaired dozens of professional organizations and worked tirelessly on behalf of Britain's Muscular Dystrophy Campaign.In 1998 the venerable screen legend has a small part in the Oscar-nominated Elizabeth, and in 1999 he directed Grey Owl. Then, in 2007, at the age of 84 he directed the seeping World War II epic romance Closing the Ring with a stellar cast that included Shirley MacLaine, Christopher Plummer, Brenda Fricker, and Pete Postlethwaite. In 2008, he suffered several health setbacks and retired from filmmaking. He died in 2014, just before his 91st birthday.

Trivia: Tall, blonde, handsome German actor Hardy Kruger was 16 when he appeared in his first film, Junge Adler (1943). His early ascendency to stardom planted the seed of the widespread belief that Kruger had "favored" status with Goebbels as a member of the Hitler Youth. Whatever the case, his film career didn't really sprout wings until after the war, with the 1952 feature Illusion in Moll. Extremely popular in his own country, Kruger was also seen to good avantage in British films (The One That Got Away [1957] etc.) and rugged American adventure pictures (Hatari [1962], Flight of the Phoenix [1966]). During the '70s and '80s, Kruger directed a number of European television documentaries. Hardy Kruger is the father of actress Christiane Kruger.

Trivia: Born Ermes Effron Borgnino in Hamden, CT, to Italian immigrants, Ernest Borgnine spent five years of his early childhood in Milan before returning to the States for his education. Following a long stint in the Navy that ended after WWII, Borgnine enrolled in the Randall School of Dramatic Art in Hartford. Between 1946 and 1950, he worked with a theater troupe in Virginia and afterward appeared a few times on television before his 1951 film debut in China Corsair. Borgnine's stout build and tough face led him to spend the next few years playing villains. In 1953, he won considerable acclaim for his memorable portrayal of a ruthless, cruel sergeant in From Here to Eternity. He was also praised for his performance in the Western Bad Day at Black Rock. Borgnine could easily have been forever typecast as the heavy, but in 1955, he proved his versatility and showed a sensitive side in the film version of Paddy Chayefsky's acclaimed television play Marty. Borgnine's moving portrayal of a weak-willed, lonely, middle-aged butcher attempting to find love in the face of a crushingly dull life earned him an Oscar, a British Academy award, a Cannes Festival award, and an award from both the New York Film Critics and the National Board of Review. After that, he seldom played bad guys and instead was primarily cast in "regular Joe" roles, with the notable exception of The Vikings in which he played the leader of the Viking warriors. In 1962, he was cast in the role that most baby boomers best remember him for, the anarchic, entrepreneurial Quentin McHale in the sitcom McHale's Navy. During the '60s and '70s, Borgnine's popularity was at its peak and he appeared in many films, including a theatrical version of his show in 1964, The Dirty Dozen (1966), Ice Station Zebra (1968) and The Wild Bunch (1969). Following the demise of McHale's Navy in 1965, Borgnine did not regularly appear in series television for several years. However, he did continue his busy film career and also performed in television miniseries and movies. Notable features include The Poseidon Adventure (1972) and Law and Disorder (1974). Some of his best television performances can be seen in Jesus of Nazareth (1977), Ghost on Flight 401 (1978), and a remake of Remarque's All Quiet on the Western Front (1979). In 1984, Borgnine returned to series television starring opposite Jan Michael Vincent in the action-adventure series Airwolf. That series ended in 1986; Borgnine's career continued to steam along albeit in much smaller roles. Between 1995 and 1997, he was a regular on the television sitcom The Single Guy. In 1997, he also made a cameo appearance in Tom Arnold's remake of Borgnine's hit series McHale's Navy.At age 80 he continued to work steadily in a variety of projects such as the comedy BASEketball, the sci-fi film Gattaca, and as the subject of the 1997 documentary Ernest Borgnine on the Bus. He kept on acting right up to the end of his life, tackling one of his final roles in the 2010 action comedy RED. Borgnine died in 2012 at age 95.

Trivia: A respected character actor and occasional leading man of the stage, screen, and television, Scottish-born Ian Bannen acted in over 80 productions during his long career. Shortly after enrolling at Ratcliffe College, Bannen, who was born in Airdrie, Scotland, on June 29, 1918, made his first stage appearance at Dublin's Gate Theatre. A year after making his 1955 London theatrical debut, he entered films with A Private's Progress and Battle Hell. A prolific stage actor (with a special fondness for the works of Eugene O'Neill), Bannen nonetheless found time for quite a few impressive film characterizations. One of these, the cynical Crow in Flight of the Phoenix (1965), earned him an Academy Award nomination. His later screen assignments ranged from a cameo as a policeman in Richard Attenborough's Gandhi (1982) to the irascible Grandfather George in John Boorman's Hope and Glory (1987) to a turn as Robert the Bruce's leprous father in Braveheart (1995). It was with the 1998 comedy Waking Ned Devine that Bannen earned some of his best notices, playing a loveably crafty Irishman. Sadly, Bannen's life was cut short the following year, as he died in an auto accident on November 3, 1999, near Loch Ness, Scotland. He was survived by his wife of 23 years, as well as a rich theatrical legacy that stretched over almost half a century.

Trivia: A purveyor of priggish military and law-enforcement types, British actor Ronald Fraser began his film and TV career in 1954 as a bit actor, then graduated to supporting roles. On occasion, Fraser was allowed to play a compassionate human being, but for the most part he was the personification of the "nasty little nit." Some of his larger film appearances are in The Sundowners (1960), The Best of Enemies (1961), Killing of Sister George (1968) and The Bed Sitting Room (1969). American audiences are probably most familiar with Ronald Fraser's performance as Sergeant Watson, one of the gutsier members of Jimmy Stewart's ill-fated airplane crew in Flight of the Phoenix (1965).

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: Hissable movie heavy Dan Duryea was handsome enough as a young man to secure leading roles in the student productions at White Plains High School. He majored in English at Cornell University, but kept active in theatre, succeeding Franchot Tone as president of Cornell's Dramatic Society. Bowing to his parents' wishes, Duryea sought out a more "practical" profession upon graduation, working for the N. W. Ayer advertising agency. After suffering a mild heart attack, Duryea was advised by his doctor to leave advertising and seek out employment in something he enjoyed doing. Thus, Duryea returned to acting in summer stock, then was cast in the 1935 Broadway hit Dead End. The first of his many bad-guy roles was Bob Ford, the "dirty little coward" who shot Jesse James, in the short-lived 1938 stage play Missouri Legend. Impressed by Duryea's slimy but somehow likeable perfidy in this play, Herman Shumlin cast the young actor as the snivelling Leo Hubbard in Lillian Hellman's The Little Foxes. This 1939 Broadway production was converted into a film by Sam Goldwyn in 1941, with many members of the original cast -- including Duryea -- making their Hollywood debuts. Duryea continued playing supporting roles in films until 1945's The Woman in the Window, in which he scored as Joan Bennett's sneering "bodyguard" (that's Hollywoodese for "pimp"). Thereafter, Duryea was given star billing, occasionally in sympathetic roles (White Tie and Tails [1946], Black Angel [1946]), but most often as a heavy. From 1952 through 1955, he starred as a roguish soldier of fortune in the syndicated TV series China Smith, and also topped the cast of a theatrical-movie spin-off of sorts, World for Ransom (1954), directed by Duryea's friend Robert Aldrich. One of the actor's last worthwhile roles in a big-budget picture was as a stuffy accountant who discovers within himself inner reserves of courage in Aldrich's Flight of the Phoenix (1965). In 1968, shortly before his death from a recurring heart ailment, Duryea was cast as Eddie Jacks in 67 episodes of TV's Peyton Place. Dan Duryea was the father of actor Peter Duryea, likewise a specialist in slimy villainy.

Trivia: Born into a show business family, George Kennedy made his stage debut at the age of two in a touring company of Bringing up Father. By the time he was seven, he was spinning records on a New York radio station. Kennedy' showbusiness inclinations were put aside when he developed a taste for the rigors of military life during World War II, and he wound up spending 16 years in the army. His military career ended and his acting career began when a back injury in the late 1950s inspired him to seek out another line of work.Appropriately enough, given his background, Kennedy first made his name with a role as a military advisor on the Sergeant Bilko TV series. In films from 1961, the burly, 6'4" actor usually played heavies, both figuratively and literally; quite often, as in Charade (1963) and Straitjacket (1964), his unsavory screen characters were bumped off sometime during the fourth reel. One of his friendlier roles was as a compassionate Union officer in Shenandoah (1965), an assignment he was to treasure because it gave him a chance to work with the one of his idols, Jimmy Stewart.Kennedy moved up to the big leagues with his Academy Award win for his portrayal of Dragline in Cool Hand Luke (1967). An above-the-title star from then on, Kennedy has been associated with many a box-office hit, notably all four Airport films. Unlike many major actors, he has displayed a willingness to spoof his established screen image, as demonstrated by his portrayal of Ed Hocken in the popular Naked Gun series. On TV, Kennedy has starred in the weekly series Sarge (1971) and The Blue Knight (1978), and was seen as President Warren G. Harding in the 1979 miniseries Backstairs at the White House. During the mid '90s, he became known as a persuasive commercial spokesman in a series of breath-freshener advertisements. In 1997, he provided the voice for L.B. Mammoth in the animated musical Cats Don't Dance, and the following year again displayed his vocal talents as one of the titular toys-gone-bad in Small Soldiers. Kennedy continued to steadily work through the next two decades; his final role was in The Gambler in 2014. He died in 2016, at age 91.

Trivia: Gabriele Tinti is a popular Italian supporting actor. He made his film debut in Altri Tempi (1952). Tinti is married to Laura Gemser who frequently appears with him in films.

Trivia: Barrie Chase entered movies professionally in the second half of the 1950s, and was the last performer to achieve stardom as a dancer for the next two decades -- until Debbie Allen came along. The daughter of screenwriter and novelist Borden Chase, Barrie was born in 1934 in New York, before her father had made his move to Hollywood (and, in fact, before he was Borden Chase). Her mother was the pianist Lee Keith. Raised in California after her father entered the movie business, she attended the Westlake School and thought there was little special about working in movies. Her main interest from the age of three was dancing and athletics, including swimming, and while still a student at a local ballet school (and barely into her teens), she was picked out of a group of girls to appear in a dance sequence in the MGM Technicolor swashbuckler Scaramouche (1952). The experience left her unimpressed and she ultimately settled on dancing as a career, but her shy nature prevented Chase from pursuing it too diligently. She turned up in the Goldwyn production of Hans Christian Andersen (1952) and the dream sequence in Daddy Long Legs (1955), where she first worked (albeit very briefly) with Fred Astaire. It was director/producer Dick Powell who first took note of Chase and pulled her out of the chorus in The Conqueror and gave her a small role in You Can't Run Away From It (both 1956), his musical remake of It Happened One Night. She was then back in the chorus for the Fred Astaire/Cyd Charisse vehicle Silk Stockings when choreographer Jack Cole came to her and said that Astaire wanted to meet with her. The veteran actor/dancer/singer was preparing his first network television special, An Evening With Fred Astaire. The performing legend was so pleased with the results that he invited Chase to work with him on his next special; in effect, she became Astaire's last dancing partner in a series of broadcasts that were seen by tens of millions. She did a stage act in Las Vegas that was choreographed by no less a figure than Hermes Pan, and 20th Century Fox used her in a short sequence in Mardi Gras (1958) with Pat Boone. After that, she was offered a seven-year contract, which Chase accepted, and she next worked in Can-Can (1960). Alas, Chase had the bad fortune to come to Hollywood just at the point when dancers were becoming unnecessary to most of the productions. She was in The George Raft Story (1961), starring Ray Danton, and that was all she did that year. It fell to Gregory Peck, who had seen her on television, to request Chase for a small part in Cape Fear (1962); Stanley Kramer also used her for a dance number involving Dick Shawn in It's a Mad, Mad, Mad, Mad World (1963). She was in a dream sequence -- and, for all of that, was the only woman in the movie -- in Robert Aldrich's adventure film The Flight of the Phoenix (1965), and did occasional television work, including an episode of Bonanza entitled "The Ballerina," written by her actor/screenwriter brother Frank Chase. She left movies later in the '60s after marrying a wealthy medical entrepreneur, but reappeared in the public eye briefly in the late '70s, when John Travolta -- after watching some of Astaire's TV specials -- approached her about working with him during the making of Grease (1978).