Trivia: The sort of performer for whom the term "gaminlike" was coined, Leslie Caron was prepared for a performing career by her American mother, a former dancer. Training from childhood at the Paris Conservatoire, Caron was 16 when she was selected to dance with the Ballet de Champs Elysses. After three years with this prestigious troupe, she was discovered by Gene Kelly, who cast her as the ingénue in his 1951 film An American in Paris. This led to a long-term MGM contract and a string of films in which Caron's dancing and singing skills were showcased to the utmost: Lili (1953), The Glass Slipper (1954), Gaby (1956), and Gigi (1958). During this period, she was loaned out to co-star with Fred Astaire in 20th Century-Fox's Daddy Long Legs (1955), and was seen on the Paris stage in Jean Renoir's Ornet. As musicals slowly went out of fashion, Caron sought to alter her screen image, successfully doing so with her portrayal of a pregnant, unmarried woman awaiting an abortion in The L-Shaped Room (1962), a performance that won her the British Film Academy award (she had previously been nominated for a BFA, and an Oscar, for Lili). Her later film assignments included Father Goose (1965), in which she received an image-shattering slap in the face from Cary Grant; Ken Russell's Valentino (1977), in the role of silent-screen legend Alla Nazimova; and Louis Malle's Damage (1992). The first of Caron's three husbands was George Hormel, of the famous American meat-packing family. Her second marriage was to British director Peter Hall, and husband number three was producer Michael Laughlin, whom she wed in 1969. Though not quite as starry-eyed and apple-cheeked as she was in An American in Paris, Caron has retained her beauty and vivacity into her sixties. Among the many awards and honors bestowed upon Leslie Caron was the title of Jury President at the 1989 Berlin Film Festival.Caron would continue to appear on screen over the coming years, appearing in films like Chocolat and Le Divorce.

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: Hungarian actress Zsa Zsa Gabor is the prototypical "professional celebrity": famous merely for being famous. She started her stage career in 1933 and three years later won the title of Miss Hungary. She followed her sister Eva to America in 1941, but unlike Eva, did not devote herself to acting. Rather, she inaugurated her lifelong career of collecting jewelry, husbands, and front-page publicity. Among her many spouses were actor George Sanders (who much later in life would marry her sister Magda) and hotel magnate Conrad Hilton. Gabor also made a few movies. She actually came close to a performance in Moulin Rouge (1952), but the bulk of her cinematic achievements were along the lines of The Girl in the Kremlin (1957) -- in which her head was shaved -- and the imperishable Queen of Outer Space (1958). Operating on the theory that any publicity is good publicity, Gabor mostly kept herself in the public eye through a series of contretemps with the law. She was once arrested and fined for using profanity in public; she was sued by a "fantasy" theme park thanks to her cavalier attitude toward written contracts; and, in 1990, she provided a cornucopia of material for innumerable nightclub comics by slapping a traffic cop who had given her a speeding ticket (an act which she herself capitalized upon with cameo roles in The Naked Gun 2 1/2 [1991] and The Beverly Hillbillies [1993]). Gabor also joined the ranks of the politically incorrect for flaunting her many animal-fur coats and for refusing to appear in a nightclub when wheelchair-bound patrons threatened to impede her performance. In 2005, she filed a lawsuit against her daughter Francesca, claiming that she forged her signature to get a loan based on the value of her mother's home, but the case was thrown out of court. In the following years, Gabor experienced health problems, including a stroke, and a number of surgeries related to the incident. Gabor died in 2016, at age 99.

Trivia: Jean-Pierre Aumont, born Jean Pierre-Salomon, was a tall, charming, blond and blue-eyed leading man, who became the archetype of the "continental" gentleman. Born into the French upper class (his father owned a chain of department stores, while his mother was a former actress), he leaped into theater at age 16, studying at the Paris Conservatory. He made his stage debut at 21 and his first film appearance a year later in Jean de la Lune (1931); his career really took off after he appeared in Cocteau's play La Machine Infernal in 1934, establishing his attractiveness as a leading man and prompting film-makers to demand his services. Following his appearance in Carné's classic film Hôtel du Nord (1938), he put his career on the back burner in order to serve with the Free French forces in Tunisia, Italy, and France; a brave soldier, he was ultimately awarded the Legion of Honor and the Croix de Guerre. With France under Hitler's occupation, he moved to California in 1942, where his role in a stage production led to a contract with MGM. Cleverly utilizing his background, the studio assigned him the leads in Cross of Lorraine (1942) and Assignment in Brittany (1943), a film about the French resistance. His Hollywood career was fairly routine, and he returned to France after the war. However, he had become popular in the states, and continued to make occasional American TV, stage, and movie appearances into the '80s. The author of several plays, he also penned the autobiography Sun and Shadow (1976). A complex love-life produced marriages to French film actress Blanche Montel, whom he divorced, and Hollywood vixen Maria Montez, who died in 1951. He and Montez had a daughter, Tina (Maria-Christina) Aumont, who went on to become a film actress. An engagement to star Hedy Lamarr was broken off and followed by a marriage, divorce, and re-marriage to actress Marisa Pavan. His brother is French film director Francoise Villiers.

Trivia: Kurt Kasznar's stage career began in his native Vienna in 1931. Kasznar's star rose under the aegis of the great Max Reinhardt, who brought the actor to the U.S. in the mammoth 1937 production The Eternal Road. His better-known Broadway roles include Uncle Louis in The Happy Time (a characterization he repeated in the 1952 film version) and Max Detweiler in The Sound of Music. Kasznar also produced and directed Crazy With the Heat, and wrote First Cousin. Though he made an isolated silent movie appearance as a youngster, Kasznar's official film debut didn't come about until 1951's The Light Touch. His bombastic style was supremely suited to such film roles as Jacquot in Lili (1952) and Mr. Appopoulos in My Sister Eileen. His TV roles leaned towards the devious and sinister, notably his ongoing portrayal of Fitzhugh on the Irwin Allen extravaganza Land of the Giants (1968-70). Twice married, Kurt Kasznar's second wife was American actress Leora Dana.

Trivia: Following her training in regional theatre and radio, red-headed actress Amanda Blake was signed by MGM in 1949, where she was briefly groomed for stardom. Among her MGM assignments was 1950's Stars in My Crown, in which she was cast for the first time opposite James Arness. Film fame eluded Amanda, especially after her sizeable role in the 1954 version of A Star is Born was almost completely excised from the release print. By 1955, she had to make do with appearances in such epics as the Bowery Boys' High Society. Amanda's fortunes took a turn for the better later in 1955, when she won the role of Miss Kitty, the euphemistically yclept "hostess" of the Long Branch Saloon on the TV western Gunsmoke, which starred James Arness as Marshal Matt Dillon. She remained with Gunsmoke until its next-to-last season in 1974. After Gunsmoke, Amanda went into semi-retirement save for a handful of film projects like the made-for-TV Betrayal (1974), the theatrical releases The Boost (1988) and B.O.R.N (1989), and the 1987 reunion project Gunsmoke: Return to Dodge. Amanda Blake died in 1989 at the age of sixty.

Trivia: In films from 1945, Wilton Graff carved a screen career out of playing judges, doctors, DAs and the like. Graff's movie assignments ranged from bits in "A" pictures to sizeable supporting roles in programmers. He could be seen as the maitre d' in the crucial Gregory Peck-John Garfield restaurant scene in Gentleman's Agreement (1947), and as Baron Fitzwalter, Robin Hood's father-in-law, in Rogues of Sherwood Forest (1950). Wilton Graff's only starring role was as Dr. Belleau, the crazed sportsman who hunted human quarry in the 1961 Most Dangerous Game knock-off Bloodlust.

Trivia: In films from 1919, Dutch vaudeville comic George Davis played one of the featured clowns in Lon Chaney's He Who Gets Slapped (1924) and was also in Buster Keaton's Sherlock, Jr. that same year. In the sound era, Davis specialized in playing waiters but would also turn up as bus drivers, counter men, and circus performers, often assuming a French accent. When told that Davis' business as a hotel porter included carrying Greta Garbo's bags, the soviet envoy opined: "That's no business. That's social injustice." "Depends on the tip," replied Davis. He continued to play often humorous bits well into the '50s, appearing in such television shows as Cisco Kid and Perry Mason. The veteran performer died of cancer at the Motion Picture Country House and Hospital.

Trivia: Husky actor Mitchell Lewis attended Annapolis and Syracus University before making his stage debut in 1902. Lewis went on tour with such theatrical heavyweights as William Collier, Dustin Farnum and Alla Nazimova. He made his film bow in 1914 at the old Thanhouser Company. Specializing in ethnic roles, Lewis spent both the silent and talkie era playing menacing gypsies (The Cuckoos, The Bohemina Girl), Arab potentates (he was horse-loving Sheik Iderim in the 1926 version of Ben-Hur), East Indian warriors and Native American chiefs. He even donned blackface to portray "Tambo" in Al Jolson's Big Boy (1930). In 1937, Lewis was signed to an MGM lifetime contract, which assured him steady if not always stellar work for the next eighteen years. One of his many MGM bit-part assignments was the green-skinned Winkie Captain ("You've killed her! She's dead! Long live Dorothy!") in The Wizard of Oz (1939). Active throughout his career in charitable pursuits, Mitchell Lewis served on the original board of the Motion Picture Relief Fund.