Trivia: Burly British actor Oliver Reed juggled over 60 film roles in 40 years and a full-blooded social life of women, booze, and bar fights, both of which became fodder for stories about one of England's darker leading men and villainous character actors. After getting his start in cult monster movies from Hammer Studios, Reed forged a body of work most associated with acclaimed directors Ken Russell, Richard Lester, and Michael Winner, in which he was able to sidestep his typecasting as a brooding heavy. Reed remains one of the only prominent British thespians never to amass any stage work, making him a pure film actor. Reed was born on February 13, 1938, in Wimbledon, England, a nephew of film director Sir Carol Reed (The Third Man). An antsy type given to partying with friends, Reed did not complete high school. He ended up taking on a variety of blue-collar jobs, including nightclub bouncer and hospital porter, and even a short career in pugilism. In 1960, he suddenly burst into films, showing up in the background of the Hammer films The Two Faces of Dr. Jekyll and Sword of Sherwood Forest, and as a gay ballet dancer in The League of Gentlemen. His first starring role came with Hammer in 1961, as the title character in Curse of the Werewolf. Years later, he would serve as narrator on a full Hammer retrospective, putting his sonorous speaking voice to good use and paying homage to his roots. Such early work paved the way for a steady flow of bad-guy roles in horrors, costume dramas, and suspense thrillers. Reed's intense, glowering features could also be manipulated for believable ethnic characterizations. Titles such as These Are the Damned and Pirates of Blood River (both 1962) followed. His first of six collaborations with Michael Winner came with The Girl Getters in 1966. In 1968, he won his first leading role in a universally well-received film, the Oscar-winner Oliver!, directed by his uncle, in which he played murderous thief Bill Sikes. Despite complaints of nepotism, Reed insisted he had to persuade his uncle to cast him, even though his credentials closely matched the needs of the part. Another watershed moment came in 1969, when Ken Russell cast him as one of the leads in his adaptation of D.H. Lawrence's Women in Love. While the film was a well-received treatise on sexuality and marriage, it achieved some notoriety for featuring the first-ever full-frontal male nudity in an English-language commercial film. Reed and Alan Bates engage in a memorable nude wrestling match that audaciously fleshes out the film's themes. Reportedly, Russell had planned to scrap the scene, worried about censor backlash, until Reed wrestled him into including it, literally pinning him down, in Russell's kitchen. Still, Reed told the Los Angeles Times he had to drink a bottle of vodka before he could relax enough to film the scene. The actor and director would work together five more times, including The Devils (1971) and Tommy (1975), in which Reed played Frank Hobbs. Reed was also known for portraying musketeer Athos in three of Richard Lester's film versions of Alexandre Dumas' famous tale. Reed appeared in The Three Musketeers (1973) and its sequel, The Four Musketeers (1975), which originally had been planned as one long movie. He revived the role in 1989 for The Return of the Musketeers. During filming of the windmill scene in the first film, Reed was nearly killed when he received an accidental stab wound in the neck. Add in 36 facial stitches following a bar fight in 1963, and the actor had more than his share of scrapes. Reed peaked in many ways in the mid-'70s, and had to settle on genre work for much of his career. Films such as Dr. Heckyl and Mr. Hipe (1980), Venom (1982), Gor (1987), and Dragonard (1987) became his regular source of paychecks for many years. For every respite, such as Nicolas Roeg's Castaway (1987) or Terry Gilliam's The Adventures of Baron Munchausen (1989), there was a return to familiar territory with garbage like House IV: Home Deadly Home (1991). Reed's most familiar role for modern audiences was also his last. The actor appeared in Oscar-winner Gladiator (2000) as Proximo, the amoral merchant who trains the enslaved fighters to kill and be killed. When he died midway through production, Reed unwittingly became part of a groundbreaking three-million-dollar endeavor by director Ridley Scott to digitally re-create his likeness in order to film Proximo's death scene. A three-dimensional image of Reed's face was scanned into computers so it could smile and talk, then digitally grafted onto a body double. Reed died in Malta, where Gladiator was being filmed, on May 2, 1999, the result of a heart attack brought on by one last night of hard drinking, which included three bottles of downed rum and arm wrestling victories over five sailors. He was survived by his third wife, Josephine Burge, as well as a son (Mark) and a daughter (Sarah), one each from his previous two marriages.

Trivia: Samantha Eggar's father was a British Army brigadier and her mother was of Dutch/Portuguese extraction. Convent educated, Eggar became a stage actress in her teens. While performing in a Shakespeare play, Eggar was discovered by film producer Betty Box, who cast the tall, auburn-haired 23-year-old actress as a sluttish college coed in The Wild and the Willing (1961). Eggar's first international success was The Collector (1965), replacing Natalie Wood (who'd turned down the film) as the harried kidnap victim of obsessive Terence Stamp. Eggar garnered an Oscar nomination for her demanding performance, and also won the Cannes Film Festival award. Then followed a succession of unremarkable roles in films like Walk, Don't Run (1966) and Doctor Doolittle (1967) (which at least gave Eggar a chance to sing). She was better served in The Molly Maguires (1970) and Seven Per Cent Solution (1976), playing the wife of Sherlock Holmes crony Dr. Watson (Robert Duvall) in the latter. Eggar's prolific American TV work has included the role of Anna Leonowens in the expensive, short-lived weekly Anna and the King (1972). Samantha Eggar has managed to maintain her dignity and integrity despite far too many horror flicks like The Brood (1979).

Trivia: Veteran actor Art Hindle had already established a successful career in finance when he decided to try his hand at acting. He'd always had an interest in the arts and had been involved in local theater since his teens, but it wasn't until he was 21 and working as a stockbroker that he decided to pursue acting full time and relocate with his family to L.A. He began appearing in movies and on TV in the early '70s, showing up in episodes of shows like Starsky & Hutch and Baretta. In addition to starring roles on the short-lived crime drama Kingston Confidential in 1977 and the popular nighttime soap Dallas in 1981, Hindle would largely spend the following decades amassing a long résumé of single-episode appearances, from JAG to Mutant X to Puppets Who Kill. He would also appear in a number of TV movies and feature films and starred in the series Paradise Falls from 2001 to 2008.

Trivia: Beckman is a stocky character actor, onscreen from the '50s.

Trivia: An able "action player," Canadian actor Nicholas Campbell was all action and no lines in his bit roles in A Bridge too Far (1975), The Eagle Has Landed (1976) and The Spy Who Loved Me (1977). Campbell was third-billed as Sniffer in the 1985 Tatum O'Neal/Irene Cara vehicle A Certain Fury, and was "adult relief" in the bizarre 1987 street-gang musical Knights of the City. Campbell's series TV gigs include the leading roles of investigative reporter Nick Fox on The Insiders (1986) and private eye Mike Devitt on the Canadian-filmed Diamonds (1987). In 1983 Campbell starred as the enigmatic, expository title character on the HBO anthology series The Hitchhiker.