Trivia: Born February 18, 1954, in Englewood, John Travolta was the youngest of six children in a family of entertainers; all but one of his siblings pursued showbusiness careers as well. By the age of 12 Travolta himself had already joined an area actors' group, and soon began appearing in local musicals and dinner-theater performances. By age 16, he dropped out of high school to take up acting full-time, relocating to Manhattan to make his off-Broadway debut in 1972 in Rain, and a minor role in the touring company of the hit musical Grease followed.In 1975, Travolta was cast in an ABC sitcom entitled Welcome Back, Kotter. As Vinnie Barbarino, a dim-witted high school Lothario, he shot to overnight superstardom, and his face instantly adorned T-shirts and lunch boxes. Before the first episode of the series even aired, he also won a small role in Brian De Palma's 1976 horror picture Carrie, and at the early peak of his Kotter success he even recorded a series of pop music LPs -- Can't Let Go, John Travolta, and Travolta Fever -- scoring a major hit with the single "Let Her In." Approached with a role in Terrence Malick's Days of Heaven, he was forced to reject the project in the face of a busy Kotter schedule, but in 1976 he was able to shoot a TV feature, director Randal Kleiser's The Boy in the Plastic Bubble, which won considerable critical acclaim. Diana Hyland, the actress who played Travolta's mother in the picture, also became his offscreen lover until her death from cancer in 1977.In the wake of Hyland's death, Travolta's first major feature film, John Badham's Saturday Night Fever (1977), emerged in the fall of that year. A latter-day Rebel Without a Cause set against the backdrop of the New York City disco nightlife, it positioned Travolta as the most talked-about young star in Hollywood. In addition to earning his first Academy Award nomination for Best Actor, he also became an icon of the era, his white-suited visage and cocky, rhythmic strut enduring as defining images of late-'70s American culture. In 1978, he starred in Kleiser's film adaptation of Grease, this time essaying the lead role of 1950s greaser Danny Zuko. Its box-office success was even greater than Saturday Night Fever's, becoming a perennial fan favorite and, like its predecessor, spawning a massively popular soundtrack LP. In the light of his back-to-back successes, as well as the continued popularity of Welcome Back, Kotter -- on which he still occasionally appeared -- it seemed Travolta could do no wrong - but things wouldn't always be so rosy for the performer.Travolta's first misstep was 1978's Moment By Moment, a laughable May-December romance with Lily Tomlin. He then reprised the role of Tony Manero in the Saturday Night Fever sequel Staying Alive. Directed by Sylvester Stallone as a kind of Rocky retread, the film was released in 1983 to embarrassing returns and horrendous reviews. It would prove to be just one in a string of '80s stinkers for the actor, followed by disappointments like Two of a Kind, Perfect, and The Experts. He made a minor comeback with 1989's Look Who's Talking, which fared well at the box office, but the movie did little for Travolta's reputation, and the performer was all but completely washed up by the beginning of the '90s.Then, in 1994, Travolta made one of the most stunning comebacks in entertainment history by starring in Pulp Fiction, a lavishly acclaimed crime film written and directed by Quentin Tarantino, a longtime Travolta fan who wrote the role of Vincent Vega specifically with the actor in mind; Travolta reportedly waived his salary to play the role. A critical as well as commercial smash, Pulp Fiction introduced Travolta to a new generation of moviegoers, and suddenly he was again a major star who could command a massive salary, with a second Academy Award nomination to prove it.In the wake of Pulp Fiction, the resurrected Travolta became one of the hardest-working actors in Hollywood, and on Tarantino's advice he accepted the starring role in director Barry Sonnenfeld's 1995 Elmore Leonard adaptation Get Shorty. Acclaimed by many critics as his finest performance to date, it was another major hit, and he followed it by appearing in the 1996 John Woo action tale Broken Arrow. Phenomenon was another smash that same summer, and by Christmas Travolta was back in theaters as a disreputable angel in Michael. The following year he reunited with Woo in the highly successful thriller Face/Off, which he trailed with a supporting turn in Nick Cassavetes' She's So Lovely. After 1997's Mad City, Travolta began work on Primary Colors, Mike Nichols' political satire, portraying a charismatic, Bill Clinton-like U.S. President. An adaptation of the acclaimed book A Civil Action followed, as did the 1999 thriller The General's Daughter, in which Travolta co-starred with Madeline Stowe. Travolta did suffer an embarrassment in 2000, when he produced and starred in the sci-fi thriller Battlefield Earth, based on the novel by Scientology founder L. Ron Hubbard (whose teachings Travolta publicly admired and advocated). The film was universally panned as so bad it was funny, but Travolta bounced back, shedding some pounds to play the baddie in 2001 action thriller Swordfish. A complex tale of mixed loyalties, computer hacking, and espionage, Swordfish teamed Travolta with X-Men star Hugh Jackman in hopes of dominating the summer box office. This put Travolta in good shape to weather another disappointment, when his dramatic Oscar contender A Love Song for Bobby Long, was not well received by audiences or critics. While he received more praise for his performance in Ladder 49, a film about the lives of firefighters, his career took another hit in 2004 when he reprised the role of Chili Palmer in Be Cool, a sequel to Get Shorty that proved to have none of the magic that made its predecessor so successful. Unfazed, Travolta signed on to star in the 2007 Baby Boomer comedy Wild Hogs, alongside a dream cast of Tim Allen, Martin Lawrence and William H. Macy, who played four listless suburbanites who decide to "live on the edge" by grabbing their sawed-off choppers and hitting the open road as would-be Hell's Angels. Later that year, Travolta took another comedic turn in Hairspray, Adam Shankman's screen adaptation of the stage musical (which, in turn, is an adaptation of John Waters's 1988 feature), which put Travolta in drag to play the heavy set, bouffant hair-do'd mother once played by drag queen Divine. He would follow this up with some middling action fare, with The Taking of Pelham 13 and From Paris with Love, as well as a sequel to Wild Hogs, 2009's Old Dogs.

Trivia: A remarkably prolific and versatile talent, Gene Hackman was a successful character actor whose uncommon abilities and smart career choices ultimately made him a most unlikely leading man. In the tradition of Spencer Tracy, he excelled as an Everyman, consistently delivering intelligent, natural performances which established him among the most respected and well-liked stars of his era. Born January 30th, 1930 in San Bernardino, CA, Hackman joined the Marines at the age of 16 and later served in Korea. After studying journalism at the University of Illinois, he pursued a career in television production but later decided to try his hand at acting, attending a Pasadena drama school with fellow student Dustin Hoffman; ironically, they were both voted "least likely to succeed." After briefly appearing in the 1961 film Mad Dog Coll, Hackman made his debut off-Broadway in 1963's Children at Their Games, earning a Clarence Derwent Award for his supporting performance. Poor Richard followed, before he starred in 1964's production of Any Wednesday. Returning to films in 1964, Hackman earned strong notices for his work in Warren Beatty's Lilith and 1966's Hawaii, but the 1967 World War II tale First to Flight proved disastrous for all involved. At Beatty's request, Hackman co-starred in Bonnie and Clyde, winning a Best Supporting Actor Oscar nomination and establishing himself as a leading character player. After making a pair of films with Jim Brown, (1968's The Split and 1969's Riot), Hackman supported Robert Redford in The Downhill Racer, Burt Lancaster in The Gypsy Moths, and Gregory Peck in Marooned. For 1970's I Never Sang for My Father, he garnered another Academy Award nomination. The following year Hackman became a star; as New York narcotics agent Popeye Doyle, a character rejected by at least seven other actors, he headlined William Friedkin's thriller The French Connection, winning a Best Actor Oscar and spurring the film to Best Picture honors. Upon successfully making the leap from supporting player to lead, he next appeared in the disaster epic The Poseidon Adventure, one of the biggest money-makers of 1972. After co-starring with Al Pacino in 1973's Scarecrow, Hackman delivered his strongest performance to date as a haunted surveillance expert in Francis Ford Coppola's 1974 classic The Conversation and went on to tap his under-utilized comedic skills in Mel Brooks' Young Frankenstein. Arthur Penn's grim 1975 thriller Night Moves and the Western Bite the Bullet followed before the actor agreed to The French Connection 2. While remaining the subject of great critical acclaim, Hackman's box-office prowess was beginning to slip: 1975's Lucky Lady, 1977's The Domino, and March or Die were all costly flops, and although 1978's Superman -- in which he appeared as the villainous Lex Luthor -- was a smash, his career continued to suffer greatly. Apart from the inevitable Superman 2, Hackman was absent from the screen for several years, and with the exception of a fleeting appearance in Beatty's 1981 epic Reds, most of his early-'80s work -- specifically, the features All Night Long and Eureka -- passed through theaters virtually unnoticed.Finally, a thankless role as an ill-fated war correspondent in Roger Spottiswoode's acclaimed 1983 drama Under Fire brought Hackman's career back to life. The follow-up, the action film Uncommon Valor, was also a hit, and while 1984's Misunderstood stalled, the next year's Twice in a Lifetime was a critical success. By the middle of the decade, Hackman was again as prolific as ever, headlining a pair of 1986 pictures -- the little-seen Power and the sleeper hit Hoosiers -- before returning to the Man of Steel franchise for 1987's Superman 4: The Quest for Peace. No Way Out, in which he co-starred with Kevin Costner, was also a hit. In 1988, Hackman starred in no less than five major releases: Woody Allen's Another Woman, the war drama Bat 21, the comedy Full Moon in Blue Water, the sports tale Split Decisions, and Alan Parker's Mississippi Burning. The last of these, a Civil Rights drama set in 1964, cast him as an FBI agent investigating the disappearance of a group of political activists. Though the film itself was the subject of considerable controversy, Hackman won another Oscar nomination. During the 1990s, Hackman settled comfortably into a rhythm alternating between lead roles (1990's Narrow Margin, 1991's Class Action) and high-profile supporting performances (1990's Postcards From the Edge, 1993's The Firm). In 1992, he joined director and star Clint Eastwood in the cast of the revisionist Western Unforgiven, appearing as a small-town sheriff corrupted by his own desires for justice. The role won Hackman a Best Supporting Actor Academy Award. The performance helped land him in another pair of idiosyncratic Western tales, Wyatt Earp and The Quick and the Dead. In 1995, he also co-starred in two of the year's biggest hits, the submarine adventure Crimson Tide and the Hollywood satire Get Shorty. Three more big-budget productions, The Birdcage, The Chamber, and Extreme Measures, followed in 1996, and a year later Hackman portrayed the President of the United States in Eastwood's Absolute Power. In 1998, Hackman lent his talents to three very different films, the conspiracy thriller Enemy of the State, the animated Antz, and Twilight, a noirish mystery co-starring Paul Newman and Susan Sarandon. Moving into the new millennium with his stature as a solid performer and well-respected veteran well in place, Hackman turned up in The Replacements in 2000, and Heist the following year. 2001 also found Hackman in top form with his role as the dysfunctional patriarch in director Wes Anderson's follow-up to Rushmore, The Royal Tenenbaums. Hackman's lively performance brought the actor his third Golden Globe, this time for Best Actor in a Musical or Comedy.

Trivia: Born February 17th, 1954, former model Rene Russo's first dramatic role of note was on the 1987 TV series Sable, in which she played Eden Kendall, the literary agent to a children's author-turned-crimefighter. Her breakthrough theatrical feature was Major League (1989), wherein the statuesque blonde actress was saddled with portraying the "misguided" heroine who foolishly prefers marriage with a stable, secure lawyer over a relationship with boozing, philandering ballplayer Tom Berenger.Since then, happily, the message conveyed by Russo's characters has been "Don't mess with me: I can cope." In One Good Cop (1991), she played the strongly supportive wife of police officer Michael Keaton, for whom she successfully tackles the sudden responsibility of caring for the surly children of Keaton's late partner. In Lethal Weapon 3 (1993), Russo could be seen as the karate-chopping cop who wins the confidence (and the love) of "loose cannon" Mel Gibson by proudly showing off her line-of-duty wounds and evincing a fascination with the Three Stooges. In In the Line of Fire (1992), Russo was once more partnered on an equal basis with the leading man, in this case Secret Service agent Clint Eastwood; one of her best scenes featured her wired for sound -- despite a most revealing evening gown -- at a Washington social affair. Apparently there are still reviewers out there who can't quite grasp the concept of a leading lady who can match her leading man blow for blow in a tight situation. In 1995, some observers seemed surprised that Russo, playing a biohazard-suited military research operative in Outbreak, was "as good as" her male counterparts Dustin Hoffman and Morgan Freeman. Despite such ill-founded critical misgivings, Russo has continued to do strong work playing strong women: The acclaimed Get Shorty (1995) featured her as a B-movie actress, while she re-teamed with Gibson for Ron Howard's crime thriller Ransom (1996) and Lethal Weapon 4 (1998). She also played a psychologist who puts the swing back into washed-up golfer Kevin Costner's game in the well-received Tin Cup (1996), and generated considerable heat as a crime investigator who hunts and then beds down with art thief Pierce Brosnan in the 1999 remake of The Thomas Crown Affair.Russo continued worked sporadically through early to mid-2000s, her most recognizable role being that of Natasha Fatale in the live-action adaptation of Rocky and Bullwinkle. In 2005, following her supporting performances in Two for the Money and Yours, Mine, and Ours, Russell took a long break from acting. It wasn't until 2012 that she appeared on the big screen again for the mythological fantasy adventure Thor in the role of Frigga, Thor's mother.

Trivia: Perhaps no Hollywood actor continually stirs up more of a gleeful admixture of feelings in his viewers than Danny DeVito. Singlehandedly portraying characters with mile-long, obnoxious jerk streaks that are nonetheless somehow loveable, DeVito -- with his diminutive stature, balding head, and broad Jersey accent -- made an art form out of playing endearingly loathsome little men.Born November 17, 1944, in Neptune, NJ, Daniel Michael DeVito Jr. survived a Catholic school upbringing and started his career from the ground up, laboring as a cosmetician in his sister's beauty parlor. Working under the name "Mr. Danny," DeVito decided to enter New York's American Academy of Dramatic Arts for the purpose of acquiring additional makeup expertise. However, he soon discovered his true theatrical calling and made his screen debut with a small part in the 1968 drama Dreams of Glass. After a few discouraging experiences within the film industry, DeVito decided to concentrate on stage work. During this time, he met actress Rhea Perlman, whom he later married in 1982. In 1972, the actor made his way back into films with a role in Lady Liberty, a comedy starring Sophia Loren. His first notable film part came three years later, when he reprised his stage role of Martini, a sweet-natured mental patient, in Milos Forman's screen version of One Flew Over the Cuckoo's Nest. Produced by DeVito's old friend Michael Douglas and co-scripted by Lawrence Hauben and Bo Goldman, the film won wide acclaim and nine Oscar nominations, eventually gleaning five statuettes (including Best Picture). Despite the adulation surrounding the film, DeVito's screen career remained lackluster, but he skyrocketed to fame three years later with his role as the obnoxious dispatcher Louie on the long-running television sitcom Taxi. From there, DeVito's career swung upward and he spent the next decade playing similarly repugnant characters with enormous success. He reunited with Douglas for Romancing the Stone (1984) and its 1985 sequel, Jewel of the Nile, teamed up with co-star Joe Piscopo and director Brian De Palma (as a scam artist on the run) in Wise Guys (1986), and signed with Disney's R-rated offshoot, Touchstone, for two comedies, the 1986 Ruthless People, and the 1987 Barry Levinson-directed Tin Men.Throw Momma from the Train (1987) marked DeVito's premier directorial outing. A madcap farce directed from a script by Benson and Soap scribe Stu Silver, Momma cast DeVito as Owen, a dim-bulb student living under the thumb of his loudmouthed mother, who is enrolled in a writing course taught by failing novelist Larry Donner (Billy Crystal). Stumbling into a repertory screening of Strangers on a Train one night, Owen has the not-so-bright idea of emulating the film, by bumping off Larry's conniving ex-wife in exchange for having Larry rub out his momma -- without asking Larry first.Throw Momma from the Train opened during the Christmas season of December 1987 and received mixed reviews. The picture nonetheless became a massive hit, grossing upwards of 57 million dollars, and thus paving the way for future DeVito-directed efforts. The War of the Roses (1989) recast DeVito with his Romancing the Stone and Jewel of the Nile co-stars, Michael Douglas and Kathleen Turner, but could not have been any more different in terms of theme, content, tone, or intended audience. Co-adapted by Warren Adler and Michael Leeson (from Adler's novel), this acerbic, black-as-coal comedy tells the story of Oliver and Barbara Rose, a seemingly happy and well-adjusted married couple whose nuptials descend into a violent hell when Barbara announces that she wants a divorce -- and Oliver refuses to give her one. DeVito plays the cherubic lawyer who relays their story to another client, and famously reflects, "If love is blind, then marriage must be like having a stroke." The picture instantly grossed dollar one, garnered legions of fans, and delighted critics across the board.Ida Random produced Momma, and DeVito's Taxi collaborator, James L. Brooks, produced War, but by the early '90s, DeVito gained additional autonomy by branching out into production duties himself, with the establishment of his own Jersey Films. Some of Jersey's more successful endeavors were 1994's Pulp Fiction (on which DeVito served as executive producer), Reality Bites (1994), Get Shorty (1995), Gattaca (1997), Out of Sight (1998), and Living Out Loud (1998). In the meantime, DeVito continued to act in a number of movies throughout the late '80s and '90s, his most notable being Twins (1988, in which he played the "twin" of Arnold Schwarzenegger), the disappointing Jack the Bear (1993), the delightful Other People's Money (1991, for which he took on the role of corporate monster Larry the Liquidator), Barry Sonnenfeld's Get Shorty, the screen adaptation of Roald Dahl's Matilda (1996, which he also directed and produced), L.A. Confidential (1997), and Living Out Loud. For the last of these DeVito won particular acclaim, impressing critics with his touching, sympathetic portrayal of a lonely elevator operator. In 1999, he added to his already impressive resumé with a role in Milos Forman's biopic of Taxi co-star Andy Kaufman, Man on the Moon, and a supporting turn in Sofia Coppola's The Virgin Suicides.Despite solid performances in a series of recent high-profile hits and decades of big-screen success, the millennial turnover found DeVito's star somewhat clouded as such efforts as Screwed (2000), What's the Worst That Could Happen? (2001), Death to Smoochy (2002), and Duplex (2003) failed to live up to box-office potential. DeVito fared only slightly better as producer of the critically acclaimed 2003 television series Karen Sisco and the ugly Get Shorty sequel, Be Cool. He also acted as executive producer for the acclaimed Zach Braff dramedy Garden State and could be spotted in director Tim Burton's imaginative fable Big Fish. As 2005 rolled around, audiences could spot DeVito in films such as The OH in Ohio, as well as on television as the actor found himself accepting a role in the quirky, taboo-busting series It's Always Sunny in Philadelphia.During 2006, DeVito balanced a full plate of work, temporarily retiring from the director's chair, but juggling small roles in no less than three A-list features. These included Brad Silberling's 10 Items or Less, a drama about the unlikely friendship that evolves between a has-been Hollywood star (Morgan Freeman) and a supermarket checkout clerk (Paz Vega); Jake Paltrow's directorial debut, The Good Night, a slice-of-life dramedy starring Gwyneth Paltrow and Penélope Cruz; and the holiday comedy Deck the Halls. The latter starred DeVito and Matthew Broderick as neighbors who go to "war" with competing decorations at Christmastime to see who can be the first to make his house visible from space. The film co-starred Kristin Davis and Kristin Chenoweth. Meanwhile, Jersey Films geared up to produce the 2007 Freedom Writers, directed by Richard LaGravenese -- a kind of retread of Stand and Deliver and Dangerous Minds, with Hilary Swank as a teacher determined to break through to her difficult students. Also in 2007, DeVito starred in Randall Miller's violent black comedy Nobel Son, DeVito joined longtime friend and collaborator Michael Douglas with a supporting role in the 2009 Solitary Man, then in 2012 voiced Dr. Seuss's title character in the classic animated fable The Lorax. DeVito and Perlman have three children.

Trivia: Lovable tough guy character actor Dennis Farina was already well into his first career as a Chicago cop before he was able to turn his occasional acting gigs into a prodigious new line of work.Raised in Chicago by Italian immigrant parents, Farina joined his hometown's police force in the mid-'60s, settling into a life of law enforcement. When he was hired to be a local consultant on Michael Mann's film Thief (1981), however, Farina wound up with a bit part as the villain's heavy. Farina continued to moonlight as an actor for several years, appearing in local theater and occasional movies, including Final Jeopardy (1985) and the Chuck Norris vehicle Code of Silence (1985). Though he never took an acting class, Farina was a natural; after Michael Mann offered him the lead in the series Crime Story in 1986, Farina left the police force to play a TV cop. During his 1986-1988 stint on the series, Farina also played FBI agent Jack Crawford (Scott Glen's part in Silence of the Lambs [1991]) in Mann's stylish thriller Manhunter (1986), was the Birdman of Alcatraz in the TV movie Six Against the Rock (1987), and a cop in TV movie mystery Through Naked Eyes (1987). Drawing on his no-nonsense charm as well as his eclectic life experience, Farina continued to shine in roles on both sides of the law, such as serial killer Angelo Buono in The Case of the Hillside Stranglers (1989) and the lead prosecutor in the TV docudrama Blind Faith (1990). As nimble with comedy, Farina went up against Robert De Niro and Charles Grodin as a mobster in the popular buddy yarn Midnight Run (1988). His versatility firmly established by the 1990s, Farina's early '90s work ranged from playing a billionaire in People Like Us (1990), to Banquo in a New York gangland version of Macbeth, Men of Honor (1991), as well as supporting roles in the comedy Another Stakeout (1993), Bruce Willis actioner Striking Distance (1993), John Turturro's Italian-American family drama Mac (1993), and vicious neo-noir Romeo Is Bleeding (1994). Farina's appearance as John Travolta's nemesis, hilariously bumbling tough guy Ray "Bones" Barboni, in Barry Sonnenfeld's adaptation of Elmore Leonard's Get Shorty (1995), led to his most notable hit since Midnight Run. His career hitting a new high, Farina co-starred with Bette Midler as reunited exes in Carl Reiner's That Old Feeling (1997), and starred as a Sicilian bigwig in the high-profile TV miniseries Bella Mafia (1997). Though his Marshall Sisco made only a brief appearance in Steven Soderbergh's esteemed Elmore Leonard adaptation Out of Sight (1998), Farina was pitch-perfect as Jennifer Lopez's protective dad. After joining the superb corps in Steven Spielberg's award-winning Saving Private Ryan (1998), Farina returned to series TV, playing smooth detective Buddy Faro (1998); the series, however, lasted only one season. Returning to films, Farina followed his role as the police captain who recruits The Mod Squad (1999) with another comic turn as a New York gangster who sets the diamond larceny plot in motion in Snatch (2000), adding a dash of Hollywood celebrity (along with Brad Pitt and Benicio del Toro) to British lad director Guy Ritchie's sophomore effort. The releases of two of Farina's next films, Barry Sonnenfeld's caper Big Trouble (2001) and Edward Burns' romantic comedy Sidewalks of New York (2001), were delayed after the terrorist attack on New York on September 11, 2001. Sidewalks of New York surfaced later in 2001, but the romantic comedy failed to charm a large audience. Big Trouble finally made it into theaters in the first half of 2002, but despite the big name cast, Sonnenfeld's farce joined such high profile fare as Arnold Schwarzenegger vehicle Collateral Damage (2002) and the espionage actioner Bad Company (2002) on the list of 9/11-delayed flops. Farina's next film, the broad, witless comedy Stealing Harvard (2002), also failed at the box office. Farina returned to television during the fall 2002 season with a lead role as a comically monstrous Meet the Parents-esque father-in-law on the sitcom The In-Laws (2002). Despite initially withering reviews, The In-Laws managed to show signs of ratings life.As the 2000's rolled forward, Farina appeared in a number of movies, most notably in Bottle Shock and What Happens in Vegas. Farina would find even more success on the small screen, with roles on Law & Order and the much discussed horse-racing drama Luck. Sadly, Farina died of a bloodclot in his lung in July of 2013. He was 69 years old.

Trivia: Whether on stage or the big screen, Delroy Lindo projects a powerful presence that is virtually impossible to ignore. Though it was not his first film role, his portrayal of manic depressive numbers boss West Indian Archie in Spike Lee's Malcolm X (1992) is what first attracted attention to Lindo's considerable talents. Since then, his star has slowly been on the rise and the actor has had steady opportunity to display his talent in a number of diverse films.The son of Jamaican parents, Lindo was born in London, England, on November 18, 1952. He was raised in Lewisham, England, until his teens, when he and his mother moved across the Atlantic to Toronto. Following a move to the U.S. a short time later, he became involved in acting, eventually graduating from San Francisco's renowned American Conservatory Theater. After graduation, he landed his first film role, that of an Army sergeant in More American Graffiti (1979). He would not appear in another film for a decade, spending the intervening years on the stage. In 1982, Lindo debuted on Broadway in Master Harold and the Boys, directed by the play's author, Athol Fugard. Six years later, he earned a Tony nomination for his portrayal of Harold Loomis in Joe Turner's Come and Gone.Although possessing obvious talent and the potential for a distinguished career, Lindo found himself in something of a rut during the late '80s. Wanting someone more aggressive and appreciative of his talents, he changed agents (he'd had the same one through most of his early career). It was a smart move, but it was director Spike Lee who provided the boost that the actor's career needed. The director was impressed enough with Lindo to first cast him in Malcolm X and then as patriarch Woody Carmichael in his semi-autobiographical comedy Crooklyn (1994), a role for which Lindo earned some long overdue praise. 1995 proved to be another big year for the actor, as he landed substantial supporting roles in two major films, playing a mercurial drug dealer in Barry Sonnenfeld's Get Shorty and another drug dealer in Lee's Clockers. The following year, he could be seen in yet another villainous role in Feeling Minnesota. However, he also proved that he could portray the other side of the law, in the Mel Gibson thriller Ransom, in which he played an FBI agent, and John Woo's Broken Arrow, which cast him as a colonel. He made good as baseball player Satchel Paige in the upbeat Baseball in Black and White that same year, winning himself an NAACP Image nomination in the process.Following a turn as a jaded angel opposite Holly Hunter in Danny Boyle's A Life Less Ordinary (1997), Lindo returned to a more earthly realm, further proving his talent for playing shadesters in The Cider House Rules (1999), in which he portrayed a cider house foreman who impregnates his daughter, and Romeo Must Die (2000), a loose adaptation of Romeo and Juliet that cast him as a vengeful mob boss. Following roles in Gone in Sixty Seconds (2000), Heist (2001), and The Last Castle (also 2001), Lindo re-teamed with Romeo star Jet Li for another high-kicking action opus, The One, in late 2001. Supporting roles in such high profile Hollywood films as The Core, Sahara, and Domino kept Lindo in the public eye over the course of the following decade, and in 2009 the actor lent his voice to the character of Beta in the runaway Pixar hit Up.

Trivia: Born and raised in New Jersey, press-shy James Gandolfini forged a film career as a prolific character actor before finally emerging as a bona fide star in the critically-lauded HBO series The Sopranos. After earning his college degree in 1983, Gandolfini headed to New York to study at the Actors Studio. Supporting himself for almost ten years as a bartender and nightclub manager, Gandolfini's major break came in 1992 with a role in a Broadway version of A Streetcar Named Desire starring Alec Baldwin and Jessica Lange, and his film debut in Sidney Lumet's A Stranger Among Us. Following small parts in several 1993 films, including the Quentin Tarantino-scripted True Romance, Gandolfini played more substantial roles as one of the heavies in Terminal Velocity (1994), Geena Davis' neighborhood boyfriend in Angie (1994), one of the submarine crew in Crimson Tide (1995), and a stuntman-turned-Mob enforcer in Get Shorty (1995). Equally gifted at playing characters on either side of the law, Gandolfini appeared as the violent neighbor who assaults Robin Wright Penn in She's So Lovely (1997) and a cop in Lumet's legal drama Night Falls on Manhattan (1997).Gandolfini played supporting roles in several more films, including Fallen (1998) and A Civil Action (1998), before he was cast as the head of a dysfunctional Mafia family in The Sopranos. Anchored by Gandolfini's superbly-nuanced performance as Prozac-popping, mother-bedeviled capo Tony Soprano, The Sopranos was hailed as a TV masterpiece for its alternately funny, surreal and deadly-serious look at New Jersey Mob life. Though he was passed over for the Emmy, Gandolfini won the SAG and Golden Globe Awards for Lead Actor in a TV drama for The Sopranos' 1999 season. During the series break, Gandolfini appeared as a slimy pornographer in 8MM (1999).Gandolfini finally added the Emmy to his trophies in 2000 for the second season of The Sopranos. Despite the inevitable criticism about the series' sophomore slump, there was no question as to Gandolfini's continuing excellence as the New Jersey Mob paterfamilias. Gandolfini followed his Emmy triumph with a supporting role as a gay hit man in The Mexican (2001), easily stealing the film from co-stars Julia Roberts and Brad Pitt. Even as he was earning The Mexican's few good notices in theaters, Gandolfini was garnering still more plaudits for The Sopranos' controversial third season, as Tony's increasingly delinquent son elicited anguished soul-searching from Tony about his legacy. Though his third Emmy nomination spoke to his formidable TV presence as Tony, Gandolfini also further burnished his movie credits with a small part in Joel Coen and Ethan Coen's Cannes Film Festival award winner The Man Who Wasn't There (2001), and a major starring role as a corrupt Army colonel who goes head-to-head with Robert Redford's incarcerated general in The Last Castle (2001). Gandolfini continued to impress on The Sopranos for the show's run, which finally ended in 2007. He would also find success on screen, appearing in a wide and impressive variety of roles in films like All the King's Men, The Taking of Pelham 123, and Violet & Daisy. Tragically, Gandolfini died unexpectedly of a heart attack in 2013 at the age of 51.

Trivia: A former theatre and psychology major at the University of Michigan, actor David Paymer's first Broadway success was in the long-running musical Grease. He tentatively launched his film career in the tiny but telling role of a cabbie in 1979's The In-Laws, then returned to working "live" as a performer and writer for The Comedy Store. A character actor even in his early twenties, Paymer displayed his versatility in a wealth of TV supporting roles on such weeklies as Cagney and Lacey, Diff'rent Strokes, The Commish and Downtown. Billy Crystal was so impressed with Paymer's work as ice-cream entrepreneur Ira Shalowitz in City Slickers (1991) that Crystal assigned him the plum role of Stan Yankelman, long-suffering brother and business manager of Berle-like comedian Buddy Young Jr., in Mister Saturday Night (1992). Convincingly playing an age range from 20 to 75, Paymer was honored with an Oscar nomination. Dividing his time between working in films and teaching classes at the Film Actor's Workshop, David Paymer has recently been seen as the angelic Hal in Heart and Souls (1993) and real-life TV producer Dan Enright in Robert Redford's Quiz Show (1994). In the decades to come, Paymer would remain an ever-present force on screen, appearing in films like In Good Company, Drag Me to Hell, Bad Teacher, and Redbelt, as well as TV shows like Line of Fire and The Good Wife.

Trivia: First acting experiences were as a mime and a street performer. Directed inmates in theater productions at the New Mexico State Penitentiary. Worked with Samuel L. Jackson in numerous films, including Do the Right Thing, Jungle Fever, White Sands and Jurassic Park. Was a regular on the series Medium, and his daughter, Olivia, appeared in a few episodes as his character's daughter.

Trivia: Moved to California when he was one year old.Began his acting career at the age of 12 when he was cast as a street dancer after being discovered breakdancing in a schoolyard.Won the ALMA Award for Emerging Artist of the Year in 1995.While working on the movie Flight of the Phoenix (2004), helped co-star Hugh Laurie record his audition tape for House.Founder of the production company Third Son Productions, Inc.

Trivia: With his gravelly voice and in-your-face style, it's no wonder that stand-up comedian cum actor Bobby Slayton quickly earned the nickname "The Pitbull of Comedy."After working tirelessly on the stand-up circuit for a number of years and frequently appearing on numerous popular stand-up comedy shows, Slayton made his feature debut in the Randy Quaid comedy Martians Go Home -- as the stand-up Martian of course. Soon appearing frequently on television and in film, Slayton would turn up in Ed Wood (1994), Get Shorty (1995), and take on the role of Joey Bishop in the made-for-television The Rat Pack (1998). A few years later Slayton would find himself cast in the HBO original series The Mind of a Married Man.

Trivia: American character actor Vito Scotti may not be the living legend as described by his publicity packet, but he has certainly been one of the most familiar faces to bob up on small and large screens in the last five decades. Scotti's father was a vaudeville impresario, and his mother an opera singer; in fact, he was born while his mother was making a personal appearance in San Francisco. Launching his own career at seven with an Italian-language commedia del arte troupe in New York, Scotti picked up enough improvisational knowhow to develop a nightclub act. When the once-flourishing Italian theatre circuit began to fade after World War II, Scotti began auditioning for every job that came up -- whether he could do the job or not. Without his trademarked mustache, the diminuitive actor looked like a juvenile well into his thirties, and as such was cast in a supporting role as a timorous East Indian on the "Gunga Ram" segment of the '50s TV kiddie series Andy's Gang. Once the producers discovered that Scotti had mastered several foreign dialects, he was allowed to appear as a comic foil to Andy's Gang's resident puppet Froggy the Gremlin. In nighttime television, Scotti played everything from a murderous bank robber (on Steve Canyon) to a misplaced Japanese sub commander (on Gilligan's Island). He was indispensable to TV sitcoms: Scotti starred during the 1954 season of Life with Luigi (replacing J. Carroll Naish), then appeared as gesticulating Latin types in a score of comedy programs, notably The Dick Van Dyke Show (as eccentric Italian housepainter Vito Giotto) and The Flying Nun (as ever-suspicious Puerto Rican police captain Gaspar Fomento). In theatrical films, Scotti's appearances were brief but memorable. he is always greeted with appreciative audience laughter for his tiny bit as a restauranteur in The Godfather (1972); while in How Sweet it Is (1968) he is hilarious as a moonstruck chef, so overcome by the sight of bikini-clad Debbie Reynolds that he begins kissing her navel! Vito Scotti was still essaying dialect parts into the '90s.

Trivia: Character actor, onscreen from 1957.

Trivia: As a respected American supporting player in film, television, and theater who occasionally moonlights as a screenwriter, Patrick Breen first culled recognition in the American press in 1991. That spring, the then-30-year-old delivered a bravura performance as an emotionally damaged son in Jon Robin Baitz's disappointing play The Substance of Fire. Breen hit his zenith as a film actor during the mid-'90s, with turns in several memorable (if uneven) Hollywood movies. These included For Love or Money (1993), Barry Sonnenfeld's Get Shorty (1995) and Men in Black (1997), and Carl Franklin's One True Thing (1998). Breen's generally nondescript, albeit pleasant, appearance enabled him to fill practically any role, from a doctor (in the Sonnenfeld picture) to Mr. Tweedy (in the Franklin film).Breen first branched off into screenwriting just after the turn of the new millennium, with back-to-back indie features which he both acted in and scripted. The 2000 picture East of A constitutes a slice-of-life drama about a trio of New York City roommates over the course of ten years. Unfortunately, East of A received extremely limited distribution and was reviewed by very few mainstream critics. Its follow-up, the 2002 ensemble comedy Just a Kiss (directed by the character actor and comic Fisher Stevens and starring Ron Eldard, Kyra Sedgwick, and Marisa Tomei) provides a surrealistic exploration of the romantic vicissitudes among a group of swinging singles. That film fared better in terms of pedigree, but demonstrated an extremely unstable overtone, meandering between lighthearted romantic comedy and darker, more cynical black comedy; perhaps as a result, it premiered in 2002 to almost unanimously devastating reviews, opening and closing practically overnight, and effectively turning Breen away from produced screenwriting work for quite some time. In 2004, he returned to A-list acting as a character player in the holiday comedy Christmas with the Kranks, starring Tim Allen and Jamie Lee Curtis. He was away from movie screens for five years, returning next in 2009's Cirque Du Freak: The Vampire's Assistant and had the leading role two years later in the horror film The Bleeding House.

Trivia: Known for both his multifaceted career and his habit of channeling drama into comedy, Barry Sonnenfeld has been working steadily since the mid-'80s as a director, cinematographer, producer, and, from time to time, as an actor. At his best he has given audiences such sharp, witty, and deftly directed films as Get Shorty (1995) and The Addams Family (1991); at his worst, he has been responsible for unequivocal stinkbombs like For Love or Money (1993) and Wild Wild West (1999).A native of New York, where he was born April 1, 1953, Sonnenfeld spent many of his high school days going to the movies instead of class. His principle interest was in photography, which he learned the basics of as a darkroom lab technician at New York University. While at N.Y.U., he made the acquaintance of two fellow students, Joel and Ethan Coen. Sonnenfeld, who had been earning extra cash as a cameraman on low-budget films, including pornographic ones, began collaborating with the Coen brothers on their first film, Blood Simple (1984), as a cinematographer. He continued to work with them in this capacity on two of their subsequent films, Raising Arizona (1987) and Miller's Crossing (1990).Sonnenfeld also lent his cinematographic talents to such films as Throw Momma From the Train (1987), Big (1988), When Harry Met Sally (1989), and Misery (1990), before making his directorial debut with The Addams Family in 1990. An amiably twisted family comedy starring Anjelica Huston and Raul Julia, the film was a big hit, and Sonnenfeld duly turned out a sequel, Addams Family Values, three years later. It was for Get Shorty (1995), however, that he received his greatest praise to date; a cool, neatly packaged adaptation of Elmore Leonard's novel, it was hailed as one of the best films of the year, and played no small part in resurrecting the once-flagging career of John Travolta, who starred as Chili Palmer, a loan collector for the mob mixed up in bad business in Hollywood. Men in Black (1997), Sonnenfeld's next directorial outing, proved to be a critical mixed bag, although the box-office receipts for the comedy about two government agents (Will Smith and Tommy Lee Jones) doing battle with aliens were lucrative enough to mitigate the slings and arrows of disgruntled critics. The following year, Sonnenfeld once again earned a share of critical approval as the executive producer of Steven Soderbergh's Out of Sight, another stylishly satisfying Elmore Leonard adaptation starring George Clooney and Jennifer Lopez. Unfortunately, Sonnenfeld's next stint as a director was Wild Wild West, a Western starring Will Smith and Kevin Kline that headed into the deep, deep South at the box office and the realm of critical opinion. After taking a breather for a couple of years, Sonnenfeld returned to theaters in 2002 with two more comedies, Big Trouble and Men in Black 2. The former, a Get Shorty-like ensemble comedy involving a botched terrorist plot, was delayed for six months after the September 11th tragedies and failed to make an impression at the box office upon release. As a producer he helped bring a number of visually inventive television shows to the small-screen including The Tick. Karen Sisco, and Pushing Daises, even while his directorial career continued with the Robin Williams vehicle RV and a third Men in Black film in 2012.

Trivia: Sporting a Brooklyn accent and bulldog features, Harvey Keitel first gained recognition with a series of gritty roles in the early films of Martin Scorsese, and he was for a long time cast as one lowlife thug after another. His career experienced a renaissance in the 1990s, when roles in such films as Thelma & Louise, Bad Lieutenant, and The Piano demonstrated his versatility and his willingness to let it all hang out (literally) in the service of an authentic characterization.A product of Brooklyn, where he was born on May 13, 1939, Keitel grew up as something of a delinquent. At the age of 16, his truancy was put to an end when he was sent to Lebanon with the Marine Corps. Upon his return, he sold shoes and nurtured an interest in acting. He studied the craft with Lee Strasberg and Stella Adler and began appearing in off-off-Broadway productions. When he was 26, fate struck in the form of a casting ad placed by Scorsese, at that time a fledgling student director at New York University; Keitel's response to the ad began a collaboration that would last for years and produce some of the more memorable moments in film history. Keitel and Scorsese made their onscreen feature debuts with Who's That Knocking at My Door? (1968), in which the former played the latter's alter ego. Five years later, they collaborated on Mean Streets; that and their subsequent collaborations of the '70s, Alice Doesn't Live Here Anymore (1974) and Taxi Driver (1976), were some of the decade's most memorable films. Unfortunately, despite these achievements, Keitel's career suffered a great blow when he lost the lead in Francis Ford Coppola's Apocalypse Now to Martin Sheen. He spent much of the '80s appearing in obscure and/or forgettable films, save for Scorsese's controversial The Last Temptation of Christ (1988), and by the time he was cast in Thelma & Louise in 1991, he was in a career slump. 1991 and 1992 marked a turning point in Keitel's career: his role in Thelma and Louise as a sympathetic detective -- much like his role in that same year's Mortal Thoughts -- helped him break through the stereotypes surrounding him, and his Oscar nomination for his portrayal of gangster Mickey Cohen in Bugsy (1991) put him back in the forefront. Keitel's work in 1992's Bad Lieutenant, Reservoir Dogs, and Sister Act further established him as an actor of previously unappreciated versatility, and in 1993 he proved this versatility when he starred in Jane Campion's exotic art drama The Piano, in which he famously appeared in the nude as Holly Hunter's lover.Keitel continued to demonstrate his ability to play both hard-boiled gangsters and rough-edged nice guys throughout the rest of the decade, turning in one solid performance after another in such films as Pulp Fiction (1994), Clockers (1995), and Copland (1997). One of his most memorable characterizations, cigar shop owner Auggie Wren, came from his collaboration with Paul Auster on Smoke and Blue in the Face (both 1995); he also worked with Auster on his 1998 romantic drama Lulu on the Bridge. In 1999, Keitel could be seen in variety of films, notably Tony Bui's Three Seasons, in which he played an American soldier searching for his lost daughter in Vietnam, and Jane Campion's Holy Smoke, in which he played a man sent to deprogram Kate Winslet of the teachings she received while part of a religious cult.In 2001, Keitel's performance as the contemptuous Major Steve Arnold in Taking Sides was met with rave reviews; the same year, Keitel played a Holocaust victim in The Grey Zone. Keitel worked on and off throughout the 2000s, and landed a regular role in ABC's short-lived series Life on Mars in 2008.

Trivia: Instantly recognizable for her cute overbite, raucous voice, and broad Bronx accent, Penny Marshall successfully made the transition from popular comic actress to a respected director and producer of popular mainstream feature films. A New York native (born Carole Penny Marsciarelli), Marshall is the daughter of an industrial filmmaker and a dance instructor. She started dancing herself as a toddler and as a teen competed on The Ted Mack Amateur Hour with a dance troupe comprised of several friends. The group also appeared on The Jackie Gleason Show. By the time she was a young adult and had graduated with degrees in math and psychology from the University of New Mexico, her older brother, Garry Marshall, had established himself as a successful television writer. It was Garry who provided Marshall with her first film role in his feature film debut effort as a screenwriter and producer in How Sweet It Is (1968).When her brother began creating and producing situation comedies, he made sure Marshall had parts in his shows, the first of which was My Friend Tony and the second was The Odd Couple, where she had a recurring role. Marshall also guest starred on other comedies, including The Mary Tyler Moore Show, but her big break didn't come until her brother cast her and her friend Cindy Williams as Laverne and Shirley in an episode of his popular series Happy Days. Her portrayal of a wiseacre working-class broad and Williams' take on the more innocent Shirley gained an instant fan base and so Garry Marshall was inspired to build a sitcom around the characters. Laverne and Shirley debuted in 1978 and ran through 1983. During this period, Marshall was married to actor-turned-director Rob Reiner. She divorced him in the early '80s. At that time, it was apparent that her acting career was on a dead-end street and Marshall decided to try out directing. Beginning with television movies and series such as The Tracey Ullman Show, Marshall learned to direct. She made her feature film directorial debut with the Whoopi Goldberg vehicle Jumpin' Jack Flash (1986) which had originally been slated for director Howard Zieff. Returning her brother's favors, she gave him a part in the film and also created a part for her daughter, Tracy Reiner (the offspring from Marshall's first marriage to Michael Henry). The film was a critical and box-office dud, but this did not deter Marshall from trying again. Her second attempt at directing, Big (1988), the story of a boy whose wish is granted and so finds himself stranded in a man's body, made actor Tom Hanks a movie star and established Marshall as a respectable big-league filmmaker. Still, she took two years to finish her next film, Awakenings (1990). This was due in part to 20th Century Fox's reluctance to have the story filmed until Marshall had engaged her friends Robin Williams, in a rare subdued dramatic role, and Robert De Niro. A well-made and poignant drama, Awakenings received three Academy Award nominations, including one for Best Picture. For her next film, Marshall offered up a sentimental, funny, and ebullient look at the women who kept professional baseball alive when all the young men were off fighting during WWII in A League of Their Own (1992). It was a well-crafted effort that has grown in popularity on video and netted star Geena Davis a Golden Globe nomination. Since then, Marshall's directorial output yielded uneven results and her films, while still loaded with mainstream appeal, had yet to reach the degree of popularity of her earlier work. In the late '90s, she and her much-younger pal, comedian Rosie O'Donnell, became popular for a series of television commercials for K-Mart. In addition to directing and producing, Marshall occasionally continued to work as an actress on television and in films, and earned a star on the Hollywood Walk of Fame (alongside her Laverne and Shirley co-star Cindy Williams) in 2004. Though at the time it appeared that Marshall had taken a hiatus from the director's chair, she would later resurface to direct episiodes of According to Jim and United States of Tara before lending her voice to the animated comedy series The Life and Times of Jim, and making an appearance in Fred Armisen and Carrie Brownstein's hipster-skewing sketch series Portlandia.

Trivia: Gloriously flamboyant American entertainer Bette Midler was born in Honolulu, HI, to the only Jewish family in the neighborhood. After dropping out of a drama class at the University of Hawaii, she took a tiny role in the 1966 film Hawaii, playing a seasick boat passenger (though it's hard to see her when viewing the film). Training for a dancing career in New York, Midler made the casting rounds for several months before finally winning a chorus role, and then the featured part of Tzeitel, in the long-running Broadway musical Fiddler on the Roof.It helps to do something well that no one else does, and Midler found her forte by singing at the Continental Baths, a gay hangout in New York. Most bath house performers were painfully bad, but Midler established herself by combining genuine talent with the tackiness expected of her. As the "Divine Miss M," Midler did an act consisting of campy (and dirty) specialty numbers; dead-on imitations of such earlier performers as the Andrews Sisters and Libby Holman; and the most outrageously revealing costumes this side of Bob Mackie. Soon she outgrew the bath houses and went on to nightclub and recording-artist fame, earning a Grammy Award in 1973. After several years of sell-out tours, Midler re-entered films as the star of The Rose, a 1979 film à clef loosely based upon the life and times of Janis Joplin. The film was a success, but it failed to establish Midler as a dramatic actress; audiences, particularly gay fans, still preferred the Divine Miss M. Jinxed (1982), Midler's next film, lived up to its name with well-publicized production squabbles between Midler, the director, producers, and a few of her co-stars. Following the film's failure, Midler wasn't seen onscreen until she signed a contract with Disney in 1986. Establishing a new film identity as a character comedienne, Midler sparkled in Down and Out in Beverly Hills (1986), and was even better as a loudmouthed kidnap victim in Ruthless People (1987). Using her restored film stature, Midler set up her own production company and produced Beaches (1988), a pals-through-the-years saga that proved to be a four-hankie audience favorite. Once again attempting to establish herself as a tragedian, Midler starred in Stella (1989), a poorly-received remake of 1937's Stella Dallas. For the Boys (1992), offered Midler in tons of old-age makeup as a Martha Raye-style USO star (Raye responded to this "tribute" by suing the studio). The subsequent Scenes From a Mall (1991), which paired Midler with Woody Allen, and witchcraft fantasy Hocus Pocus (1993) also failed to truly showcase her talents. She rebounded somewhat in 1995 with a role in the wildly acclaimed Get Shorty, and had even greater success the following year co-starring with Diane Keaton and Goldie Hawn in The First Wives Club. In 1999, Midler played herself in two films: the TV mockumentary Jackie's Back and Get Bruce!, a big-screen documentary about legendary comic writer Bruce Vilanch. In addition to her film work, Midler still performs live concerts to sold-out crowds and continues to release albums, including Bathouse Bette, a tribute to her early singing days. In 1993, she scored an enormous success in a superb TV adaptation of the Broadway musical Gypsy. And, in 2000, Midler extended her talents to television, starring as herself in the aptly-named sitcom Bette. Though she would only appear in a handful of films over the next decade, Midler remained quite active on stage and television, even earning an Emmy nomination for Bette Midler: The Showgirl Must Go On in 2011.

Trivia: In films from 1965, American actor Alex Rocco specialized in tough-guy roles, sometimes leavening his hard-bitten portrayals with a dash of roguish humor. Rocco's film assignments included such parts as gangster Legs Diamond in St. Valentine's Day Massacre (1967) and Moe Greene in The Godfather (1974). He has been a regular or semi-regular on a number of television shows, beginning with 1975's Three for the Road, in which he starred as free-lance photographer (and full-time family man) Pete Karras. Alex Rocco has since been seen in such TVers as The Facts of Life as Mr. Polniaczek, Sibs as Howie Roscio, The Famous Teddy Z as Al Floss, and The George Carlin Show as Harry Rossetti. He played the father of Jennifer Lopez's character in The Wedding Planner (2001) and was a recurring character on the short-lived series Magic City (2012-13). Rocco died in 2015, at age 79.

Trivia: The son of an architect, David Groh entered Brown University as an engineering major, but gradually gravitated to the Fine Arts department. Following a few summers with the American Shakespeare Festival, Groh received a Fulbright scholarship to study acting in England. Returning to New York, he was at first limited to "classical" roles, beginning with his off-Broadway bow in The Importance of Being Earnest. He enrolled at the Actors Studio to get some "modern" grounding: evidently he succeeded, inasmuch as his subsequent Broadway credits included such contemporary efforts as The Hot L Baltimore and Chapter Two. During the 1960s and 1970s, he worked steadily in the soap-opera mills, appearing in a dual role on Dark Shadows and as D L Brock in General Hospital. Told by his friends that he might have a future in Hollywood-based cop shows, Groh moved to LA in 1974--where, within a matter of months, he was cast as Rhoda Morgenstern's fiancé Joe Gerard on the popular sitcom Rhoda. The Joe-Rhoda wedding, telecast October 28, 1974, earned the series its highest-ever ratings; but the chemistry was never really there, and in 1977 the Gerards were divorced (many viewers, assuming that Groh and Harper were really married, sent letters of condolence to the two actors). In April of 1978, Groh was back on the small screen in his own sitcom, Another Day (1978), which lasted but a month. David Groh thereafter concentrated on stage work, with occasional forays into films and such TV miniseries as The Dream Merchants and Tourist.. Groh died at age 68 in February 2008.