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: Robert Fuller spent his first decade in show business trying his best to avoid performing. After his film debut in 1952's Above and Beyond, Fuller studied acting with Sanford Meisner at New York's Neighborhood Playhouse but never exhibited any real dedication. He tried to become a dancer but gave that up as well, determining that dancing was "sissified." Fuller rose to nominal stardom fairly rapidly in the role of Jess Harper on the popular TV western Laramie (1959-63). Once he found his niche in cowboy attire, he stuck at it in another series, Wagon Train, turning down virtually all offers for "contemporary" roles. When westerns began dying out on television in the late 1960s, Fuller worked as a voiceover actor in commercials, earning some $65,000 per year (a tidy sum in 1969). On the strength of his performance in the Burt Topper-directed motorcycle flick The Hard Ride, Fuller was cast by producer Jack Webb as chief paramedic Kelly Brackett on the weekly TVer Emergency, which ran from 1972 through 1977. In 1994, Robert Fuller was one of several former TV western stars who showed up in cameo roles in the Mel Gibson movie vehicle Maverick.

Trivia: Oates first acted in a student play while attending the University of Louisville. He moved to New York in 1954, hoping to find work on the stage or TV; instead he had a series of odd jobs. Eventually he appeared in a few live TV dramas, and when this work slowed down he moved to Hollywood; there he became a stock villain in many TV and film Westerns. Over the years he gained respect as an excellent character actor; by the early '70s he was appearing in both unusual, unglamorous leads and significant supporting roles. His breakthrough role was in In the Heat of the Night (1967). He played the title role in Dillinger (1973).

Trivia: Actor Jordan Christopher managed to stretch out his fifteen minutes of fame into twenty years of steady work. A former hairdresser, Christopher became an instant celebrity when, in the mid 1960s, he married Sybil Burton, the former wife of film- star Richard Burton. A frequent guest on TV talk shows, the handsome Christopher caught the eye of several film and TV directors. Among the better films in which Christopher appeared were Return of the Seven (1966), Brainstorm(1980) and That's Life (1986). Jordan Christopher also played power-hungry patriarch Guy Millington on the 1980 nighttime TV soap opera Secrets of Midland Heights.

Trivia: Trained at Northwestern University's drama department, onetime salesman Claude Akins was a Broadway actor when he was selected by a Columbia talent scout for a small role in the Oscar-winning From Here to Eternity (1953). With a craggy face and blunt voice that evoked memories of Lon Chaney Jr., Akins was a "natural" for villainous or roughneck roles, but was versatile enough to play parts requiring compassion and humor. A television actor since the "live" days, Akins achieved stardom relatively late in life via such genial adventure series as Movin' On (1974), B.J. and the Bear (1979), The Misadventures of Sheriff Lobo (1979) and Legmen (1984). In his last decade, Claude Akins was a busy-and most genial-commercial spokesperson.

Trivia: An architecture student, Fernando Rey interrupted his studies to fight in the Spanish Civil War against the Frangiste. He entered films as an extra in 1940. Resembling a Goya painting come to life, the cadaverous Rey is best remembered internationally for his appearances in such Luis Bunuel projects as Viridiana (1961), The Discreet Charm of the Bourgeoisie (1972), That Obscure Object of Desire (1977), and for his work in such costume epics as The Last Days of Pompeii (1960), The Castillians (1961), and the made-for-TV Jesus of Nazareth. In 1977, he won a Cannes Film Festival award for his work in Elisa Vida Mia. Often cast as a world-weary, cosmopolitan villain, Fernando Rey's most celebrated performance within this character range was as drug lord Alain Charnier in the two French Connection pictures of the 1970s.

Trivia: Julian Mateos is best-known as the producer of such Spanish films as Los Santos Innocentes (1986) and El Niño de la Luna (1989). He began his career in the early '60s as an actor in Juventude a la Intemperie (1961).

Trivia: Known to his devotees as "El Indio" because of his mixed parentage, Emilio Fernandez was not yet out of his teens when his participation as an officer in Mexico's Huerta rebellion earned him a 20-year prison sentence. Escaping to the United States in 1923, Fernandez worked as a Hollywood extra and bit player, returning to Mexico when granted amnesty in 1934. His directorial career began in 1941 with La Isla de la Pasion. Within a few years he was Mexico's foremost filmmaker specializing in populist dramas, many of them starring his wife, Columba Dominguez. His 1943 film Maria Candelaria won a Cannes Film Festival Grand Prize, while his 1946 adaptation of John Steinbeck's The Pearl, starring his favorite actor Pedro Armendariz and photographed by his longtime collaborator Gabriel Figueroa, earned several additional awards. His fame and prestige did nothing to quench his personal combustibility; notorious in cinematic circles as the only prominent director who ever actually shot a film critic, he later served six months of a four-and-a-half year sentence for manslaughter after killing a farm laborer during an argument. In the '50s Fernandez's prestige declined as the quality of his films slackened and he returned to acting; however, every few years he also directed. In the '60s and '70s he appeared in a number of American films.