Trivia: Once quoted as saying "I've made a career of playing sons of bitches," Kirk Douglas is considered by many to be the epitome of the Hollywood hard man. In addition to acting in countless films over the course of his long career, Douglas has served as a director and producer, and will forever be associated with his role in helping to put an end to the infamous Hollywood black list.Douglas (born Issur Danielovitch) was the son Russian Jewish immigrant parents in Amsterdam, NY, on December 9, 1916. He waited tables to finance his education at St. Lawrence University, where he was a top-notch wrestler. While there, he also did a little work in the theater, something that soon gave way to his desire to pursue acting as a career. After some work as a professional wrestler, Douglas held various odd jobs, including a stint as a bellhop, to put himself through the American Academy of Dramatic Arts. In 1941, he debuted on Broadway, but had only two small roles before he enlisting in the Navy and serving in World War II. Following his discharge, Douglas returned to Broadway in 1945, where he began getting more substantial roles; he also did some work on radio. After being spotted and invited to Hollywood by producer Hal Wallis, Douglas debuted onscreen in The Strange Love of Martha Ivers (1946), but he did not emerge as a full-fledged star until he portrayed an unscrupulously ambitious boxer in Champion (1949); with this role (for which he earned his first Oscar nomination), he defined one of his principle character types: a cocky, selfish, intense, and powerful man. Douglas fully established his screen persona during the '50s thanks to strong roles in such classics as Billy Wilder's Ace in the Hole (1951), William Wyler's Detective Story (1951), and John Sturges' Gunfight at the O.K. Corral (1957). He earned Oscar nominations for his work in The Bad and the Beautiful (1952) and Lust for Life (1956), both of which were directed by Vincente Minnelli. In 1955, the actor formed his own company, Bryna Productions, through which he produced both his own films and those of others, including Stanley Kubrick's Paths of Glory (1957) and Spartacus (1960); both of these movies would prove to be two of the most popular and acclaimed of Douglas' career. In 1963, he appeared on Broadway in Ken Kesey's One Flew over the Cuckoo's Nest, but was never able to interest Hollywood in a film version of the work; he passed it along to his son Michael Douglas (a popular actor/filmmaker in his own right), who eventually brought it to the screen to great success.During the '60s, Douglas continued to star in such films as John Huston's The List of Adrian Messenger (1963) and John Frankenheimer's Seven Days in May (1964), both of which he also produced. He began directing some of his films in the early '70s, scoring his greatest success as the director, star, and producer for Posse (1975), a Western in which he played a U.S. marshal eager for political gain. Though he continued to appear in films, by the '80s Douglas began volunteering much of his time to civic duties. Since 1963, he had worked as a Goodwill Ambassador for the State Department and the USIA, and, in 1981, his many contributions earned him the highest civilian award given in the U.S., the Presidential Medal of Freedom. For his public service, Douglas was also given the Jefferson Award in 1983. Two years later, the French government dubbed him Chevalier of the Legion of Honor for his artistic contributions. Other awards included the American Cinema Award (1987), the German Golden Kamera Award (1988), and the National Board of Review's Career Achievement Award (1989). In 1995, the same year he suffered a debilitating stroke, Douglas was presented with an honorary Oscar by the Academy; four years later, he was the recipient of the American Film Institute's Lifetime Achievement Award, an honor that was accompanied by a screening of 16 of his films. In addition to his film work, Douglas has also written two novels: Dance with the Devil (1990) and The Secret (1992). He published his autobiography, The Ragman's Son, in 1988.In March of 2009, Douglas starred Before I Forget, a one man show that took place at the Center Theater Group's Kirk Douglas Theatre in Culver City, California. All four performances of the show were filmed and later made into a documentary that eventually screened in 2010. The following year, Douglas presented the Oscar for Best Supporting Actress at the 83rd Academy Awards.

Trivia: Born in Kulm, North Dakota and educated at Glendale College and Immaculate Heart College, Angeline Brown acquired her professional name Angie Dickinson when she married college football star Gene Dickinson. A beauty contest winner, Dickinson entered films with an unbilled bit in the 1954 Warner Bros. musical Lucky Me. Her earliest films consisted mostly of "B" Westerns (at one point, she dubbed in actress Sarita Montiel's voice in 1957's Run of the Arrow) and television (Dickinson was rather nastily murdered in very first episode of Mike Hammer). She moved to the A-list when selected by Howard Hawks to play the female lead in Rio Bravo (1958). The film gave Dickinson ample opportunity to display her celebrated legs, which, for publicity purposes, were reportedly insured by Lloyd's of London. She went on to star in films both famous and forgettable: one of the roles for which she is best remembered is as the mistress of gangster Ronald Reagan (!) in The Killers (1964). In 1974, Dickinson jump-started her flagging career as the star of the TV cop drama Police Woman, which lasted four seasons and represented a tremendous step up in popularity for Dickinson. On that program, the actress played Suzanne "Pepper" Anderson, an undercover agent with the LAPD's criminal conspiracy division, whose assignments nearly always included donning a crafty and sexy guise in order to nab an underworld criminal.At about the same time, Dickinson also moved into motion pictures and (after years of consciously avoiding nude scenes), went au naturel for exploitation king Roger Corman in that producer's depression-era romp Big Bad Mama, which unsurprisingly became a cult favorite. (Years later, in 1987, she teamed up with Z-grade shlockmeister Jim Wynorski for New World's Big Bad Mama II). Brian DePalma's Psycho-influenced thriller Dressed to Kill (1980) brought the actress greater visibility, and like the Corman assignments, required Angie to do erotic nudity (though in this case, the below-the-waist shower shots were reportedly performed by a body double).In later years, Dickinson leaned more heavily on starring and supporting turns in made-for-television productions, including a telemovie follow-up to Police Woman, Police Woman: The Freeway Killings (1987); the Oliver Stone miniseries Wild Palms (1993); the direct-to-video thriller The Maddening (1995) (opposite longtime friend and colleague Burt Reynolds); and the prime-time soaper Danielle Steele's Rememberance (1996). The next decade found the septuagenarian actress unexpectedly returning to A-list Hollywood features, albeit in small supporting roles; these included Duets (2000), Pay it Forward (2000) and Ocean's Eleven (2001) (in a cameo as herself, nodding to her involvement in the original).Angie Dickinson was married to composer Burt Bacharach from 1965 to 1980.

Trivia: Scots actor James Donald made his first professional stage appearance sometime between 1935 and 1938, but would not achieve theatrical stardom until 1943's Present Laughter. Donald began making films in 1941, hitting his stride with his portrayal of Theo Van Gogh in Lust for Life (1956). He is most fondly remembered for his incisive performances in a trio of POW dramas: Bridge on the River Kwai (1957), The Great Escape (1963), and King Rat (1965). He also made a handful of memorable TV appearances, the last of which was the role of Murdstone in the 1970 all-star adaptation of David Copperfield. After a long period of inactivity, James Donald died of stomach cancer at the age of 75.

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: During his lifetime, it was hard to determine when and where actor Yul Brynner was born, simply because he changed the story in every interview; confronted with these discrepancies late in life, he replied, "Ordinary mortals need but one birthday." At any rate, it appears that Brynner's mother was part Russian, his father part Swiss, and that he lived in Russia until his mother moved the family to Manchuria and then Paris in the early '30s. He worked as a trapeze artist with the touring Cirque D'Hiver, then joined a repertory theater company in Paris in 1934. Brynner's fluency in Russian and French enabled him to build up a following with the Czarist expatriates in Paris, and his talents as a singer/guitarist increased his popularity. And when Michael Chekhov hired Brynner for his American theater company, he added a third language -- English -- to his repertoire. After several years of regional acting, Brynner was hired by the Office of War Information as an announcer for their French radio service. In 1945, Brynner was cast as Tsai-Yong in the musical play Lute Song, which starred Mary Martin; the production opened on Broadway in 1946, and, though its run was short, Brynner won the Most Promising Actor Donaldson award. He went on to do theater in London and direct early live television programs in the States, including a children's puppet show, Life With Snarky Parker. In 1949, the actor made his movie debut as a two-bit smuggler in a Manhattan-filmed quickie Port of New York, which has taken on a video-store life of its own since lapsing into the public domain. On the strength of his Lute Song work of several years earlier, Brynner was cast as the King of Siam in Rodgers and Hammerstein's 1951 musical The King and I. The play was supposed to be a vehicle for Gertrude Lawrence, with the king an important but secondary role; but so powerful was Brynner's work that the role was beefed up in rehearsal, causing supporting actor Murvyn Vye to quit the show when Vye's only song was cut to give more stage time to Brynner. The King and I was an enormous hit, supplying Brynner with the role of a lifetime, one in which he would repeat brilliantly in the 1956 film version -- and win an Oscar in the process. Cecil B. DeMille, impressed by Brynner's King performance, cast the actor as the Egyptian Pharoah Rameses I in DeMille's multimillion-dollar blockbuster The Ten Commandments (1956). It became difficult for Brynner to play a "normal" character after this, so he seldom tried, although he came close to subtle believability in Anastasia (1956) and The Journey (1959). The first baldheaded movie idol, Brynner occasionally donned a wig or, as in Taras Bulba (1962), a Russian pigtail, but his fans (particularly the ladies) preferred him "scalped," as it were. Outside of his film work, Brynner was also an accomplished photographer, and many of his pictures appeared in major magazine spreads or were used as official studio production stills. Hollywood changed radically in the '70s, and the sort of larger-than-life fare in which Brynner thrived thinned out; so, in 1972, the actor agreed to re-create his King and I role in an expensive weekly TV series, Anna and the King. But it lasted all of eight weeks. Brynner's last major film role was in the sci-fi thriller Westworld (1973) as a murderously malfunctioning robot, dressed in Western garb reminiscent of the actor's wardrobe in 1960's The Magnificent Seven. What could have been campy or ludicrous became a chilling characterization in Brynner's hands; his steady, steely-eyed automaton glare as he approached his human victims was one of the more enjoyably frightening filmgoing benefits of the decade. In 1977, Brynner embarked upon a stage revival of The King and I, and though he was dogged by tales of his outrageous temperament and seemingly petty demands during the tour, audiences in New York and all over the country loved the show. The actor inaugurated a second King tour in 1985; this time, however, he knew he was dying of lung cancer, but kept the news from both his fans and co-workers. Unable to perform the "Shall We Dance" waltz or get all the words out for the song "A Puzzlement," Brynner nonetheless played to packed audiences willing to shell out 75 dollars per ticket. Two months after the play closed in 1985, Brynner died in a New York hospital -- still insisting that his public not know the severity of his condition until after his death, although he had recorded a dramatic public-service announcement to be broadcast afterward that blamed the illness on smoking.

Trivia: Whether he was called "The Voice," "Ol' Blue Eyes," or "The Chairman of the Board," Frank Sinatra's nicknames all conveyed the adulation and respect reserved for a man who was commonly thought of as the best American popular singer of the 20th century. Sinatra's voice, whether manifested in song or spoken word, caressed the ears of many a listener for more than five decades. Sinatra's legacy -- countless songs and more than 70 films -- continue to ensure him the kind of popularity that has reached beyond the grave to elevate him past the status of mere icon to that of cultural institution.Born Francis Albert Sinatra on December 12, 1915, Sinatra grew up poor in Hoboken, NJ. After working for a newspaper, he organized the Hoboken Four, a singing group. He got his first break when he won first prize on radio's "Major Bowes Amateur Hour," and went on to perform in nightclubs and on radio. Sinatra then landed the job of vocalist with the Harry James band, and later switched to Tommy Dorsey Orchestra. It was during his tenure with Dorsey's group that Sinatra made his first two films in uncredited roles as a singer in the bands in Las Vegas Nights (1941) and Ship Ahoy (1942). In 1942, Sinatra's attempt to become a solo artist met with great success, especially in the hearts, minds, and ears of many American women and girls, who flocked to his performances with a fervor that would be replicated two decades later with the arrival of the Beatles. Soon, Sinatra was the "dream-date" idol of millions of American girls and, for several years, was enormously popular on-stage in addition to other venues, including radio, records, and nightclubs. To complement his popularity as a singer, Sinatra began acting, playing in a number of light musical films throughout the '40s. His first real acting role came in Higher and Higher (1943); other notable movies from this period in his career included Take Me out to the Ballgame (1949), co-starring Gene Kelly and Esther Williams, and On the Town, also made in 1949 and co-starring Kelly, who co-directed the picture with Stanley Donen. Sinatra suffered a career setback in 1952 when his vocal cords hemorrhaged and he was dropped by MCA, the monolithic talent agency. Having established a shaky screen career, he fought back and landed the role of Angelo Maggio in From Here to Eternity (1953) after begging Columbia for the part and then agreeing to take it for a mere 8,000 dollars. His performance won him the 1954 Best Supporting Actor Oscar and a Golden Globe, and, in the process, resuscitated his faltering career. Sinatra appeared in several more movies in the '50s, receiving a 1956 Best Actor Oscar nomination and a British Academy Award (BAFTA) for his portrayal of a drug addict in The Man with the Golden Arm (1955). In addition, he took home a Golden Globe for his performance in Pal Joey (1957). Soon Sinatra was back on top as a performer, earning the nickname "The Chairman of the Board." Sinatra continued to do frequent film work, making a screen appearance with his Rat Pack colleagues Dean Martin, Sammy Davis Jr., Peter Lawford, and Joey Bishop in Ocean's Eleven (1960). Most notably, Sinatra gave a subtle, troubled portrayal of the haunted Captain Bennett Marco in John Frankenheimer's Cold War classic The Manchurian Candidate. His last role was as an aging detective in The First Deadly Sin (1980). Sinatra also appeared on various television shows during the '80s and went on to have hit records as late as the early '90s. His four wives included actresses Ava Gardner and Mia Farrow, and he fathered actor/singers Frank Sinatra Jr. and Nancy Sinatra, as well as another daughter, Tina. Sinatra died of a heart attack on May 14, 1998, in Los Angeles. He is buried in Palm Springs, CA.

Trivia: Born in New York City on May 4, 1903, Luther Adler was the product of a well-known Yiddish theatre family. His stage debut came at the age of five when he appeared in Schmendrick. Although primarily a stage actor, Adler's film credits contain character portrayals that are both potent and noteworthy, as evidenced in the 1951 film The Magic Face, where he plays an impersonator who murders Hitler and then takes his place. Here Adler shines in what would otherwise be an average picture. His first movie role came in 1937 with Lancer Spy and continued over the next four decades, with credits in some two dozen films. His sister Stella is well-known as an acting teacher, and his brother Jay starred in occasional films until his death in 1978. Adler was married to Sylvia Sidney from 1938 to 1947. Other memorable films include: D.O.A. (1950); The Desert Fox (1951); The Last Angry Man (1959); Voyage of the Damned (1976).

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: At one time Israel's most popular film personality, Topol first learned to act in amateur theatricals while serving in the Army. Back in civilian clothes, Topol established a satirical theatre troupe in Tel Aviv, and in 1961 was one of the founding members of the Municipal Theatre of Haifa. He appeared in his first film in 1964, and two years later made his English-language screen bow as Abou Ibn Kaden in the big-budget Mickey Marcus biopic Cast a Giant Shadow (1966). His chief claim to fame is his portrayal of Tevye the Milkman in the long-running musical Fiddler on the Roof; he scored an enormous success in this role on the London stage, then earned an Academy Award nomination for his interpretation of Tevye in the 1971 film version of Fiddler. While criticized in some circles for relying upon "cute" acting tricks, Topol has managed to retain his stardom--and his home-grown fan following--for over three decades. Some of Topol's most notable post-Fiddler roles have included the title character in Brecht's Galileo (1975), Dr. Zarkhov in 1980's Flash Gordon and Berel Jastrow in the 1983 miniseries The Winds of War and its 1987 sequel War and Remembrance.

Trivia: American character actress Ruth White specialized in offbeat roles on-stage and in feature films. She started out in stock theater in the early '40s after studying acting under Maria Ouspenskaya. She made her Broadway debut in 1949 and went on to become a popular and oft-distinguished performer. White made her film debut in Edge of the City (1957). White died in 1969.

Trivia: In his earliest films (his first was 1942's The Foreman Went to France), Scottish actor Gordon Jackson was often seen as a weakling or coward. As age added character to his face, Jackson eased into roles of quiet authority, notably butlers and businessmen. Of his many British and American films, the highlights of Jackson's career include Whisky Galore (1948), Tunes of Glory (1960) and The Ipcress File (1965). On television, Gordon Jackson was seen as Hudson the butler on the internationally popular serial Upstairs, Downstairs (1973-74), and he later co-starred on the domestically distributed British series The Professionals (1977-81).

Trivia: A graduate of Britain's Brighton College, Michael Hordern entered the workaday world as a schoolteacher. Engaging in amateur theatricals in his off-hours, Hordern turned pro in 1937, making his film debut two years later. After serving in the Royal Navy from 1940 to 1945, Hordern returned to show business, matriculating into one of England's most delightful and prolific character actors. His extensive stage work included two Shakespearean roles that may as well have been for him: King Lear and The Tempest's Prospero. In films, Hordern appeared as Marley's Ghost in the 1951 Alastair Sim version of A Christmas Carol (1951), Demosthenes in Alexander the Great (1956), Cicero in Cleopatra (1963), Baptista in Zeffirelli's Taming of the Shrew (1967), Thomas Boleyn in Anne of a Thousand Days (1968), and Brownlow in the 1982 TV adaptation of Oliver Twist. Other significant movie credits include the lascivious Senex (he's the one who introduces the song "Everybody Ought to Have a Maid") in A Funny Thing Happened on the Way to the Forum (1966), a pathetic Kim Philby type in The Spy Who Came in From the Cold (1967), theatre critic George Maxwell (who has his heart cut out by looney actor Vincent Price) in Theatre of Blood (1973), and what many consider his finest film assignment, the dissipated, disillusioned journalist in England Made Me (1983). He also served as offscreen narrator for Barry Lyndon (1976) and Young Sherlock Holmes (1985). Michael Hordern was knighted in 1983, and a decade later published his autobiography, A World Elsewhere.

Trivia: In the fine tradition of such Hollywood players as Douglas Dumbrille and Richard Deacon, Australian actor Allan Cuthbertson was expert in portraying icy, glaring officials at odds with more warmhearted heroes and heroines. Cuthbertson was suitably condescending and sometimes downright nasty in such films as Carrington VC (1954), The Man Who Never Was (1956), Room at the Top (1959), The Running Man (1964), The Railway Children (1974) and The Sea Wolves (1981). The actor was also seen as a foil to several British TV comedians of the '60s and '70s. Allan Cuthbertson always came in handy whenever American movie companies filming abroad needed someone to personify cold-blooded British propriety; the Guns of Navarrone (1961) and The Mirror Crack'd (1982) feature the actor at his supercilious best.

Trivia: Prior to his stage work with the Old Vic and other such venerable British theatrical institutions, Jeremy Kemp was trained at the Central School of Speech and Drama. Attaining nationwide popularity on the long-running BBC crime series Z Cars, Kemp quit the series cold in 1965 to concentrate on films. Those film historians who've summed up Kemp's post-Z Cars TV appearances as "sporadic" evidently haven't seen his small-screen work in such miniseries as Winds of War and its sequel War and Remembrance (he played German general Armin Von Roon in both); he also played Cornwall in Sir Laurence Olivier's 1983 television adaptation of King Lear, and was featured in the internationally produced historical multiparters George Washington (1985) and Peter the Great (1986). Exuding class and professionalism from every pore, Kemp was afforded ample screen time as Sir John Delaney in the 1994 box-office hit Four Weddings and a Funeral. Evidently, Jeremy Kemp expends all his energy on his acting: when asked in 1981 to list his favorite off-stage hobbies, he wrote "Bad sports and pure idleness."

Trivia: Internationally known actor Michael Shillo has appeared in stage, television, and film productions all over the world. Born in Poland, Shillo emigrated to Israel later in life. He made his first stage appearance in 1939. His daughter, Tamar Shillo, has become a noted artist.

Trivia: Along with such interchangeable actors as Bob Bailey and William Eythe, Frank Latimore was one of the 1940s stable of light leading men at 20th Century-Fox. Signed to a Fox contract while still in his teens, Latimore could be seen in such major releases as In the Meantime Darling (1944) The Dolly Sisters (1946) and Razor's Edge (1946). He played what amounted to a starring role in the 1945 thriller 13 Rue Madeline--until he was casually killed off by villain Richard Conte halfway into the picture. Latimore relocated to Rome in 1949, where he starred in actioners and swashbucklers; one of the last of these was 1962's Vengeance of Zorro. Frank Latimore returned to American films in the 1970s, playing such character parts as Lt. Colonel Henry Davenport in Patton (1970) and the Watergate-burglary judge in All the President's Men (1976).