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Get a closer look at some of Hollywood&#39;s perfect pairs.

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George Segal was born on February 13, 1934 in New York City, New York, to Fannie Blanche (Bodkin) and George Segal Sr., a malt and hop agent. All of his grandparents were Russian Jewish immigrants. After a stint in the military, he made his bones as a stage actor before being cast in his first meaty film role in The Young Doctors (1961). His turns in Ship of Fools (1965) and the eponymous King Rat (1965) heralded the arrival of a major talent. He followed this up with his Oscar-nominated performance in Who's Afraid of Virginia Woolf? (1966), in which he more than held his own against Richard Burton and Elizabeth Taylor. Who's Afraid of Virginia Woolf? (1966) was a cultural phenomenon, the film that wrecked the MPDDA censorship code that had been in place since 1934, and a huge box office success to boot.

By the early 1970s, appearances in such films as The Owl and the Pussycat (1970), Blume in Love (1973), Born to Win (1971) and The Hot Rock (1972) had made him a major star with an enviable reputation, just under the heights of the superstar status enjoyed by the likes of Paul Newman. He followed up A Touch of Class (1973) (a hit film for which his co-star Glenda Jackson won an Oscar) with his brilliant performance as the out-of-control gambler in Robert Altman's California Split (1974).

At one time in the early 1970s, it seemed like George Segal would have a career like that enjoyed by his contemporary Jack Nicholson, that of an actor's actor equally adept at comedy and drama. Segal never made the leap to superstar status, and surprisingly, has never won a major acting award, the latter phenomenon being particularly surprising when viewed from the period 1973-74, when he reached the height of his career. It was at this point that Segal's career went awry, when he priced himself as a superstar with a seven-figure salary, but failed to come through at the box office. For example, The Black Bird (1975) was a failure, although his subsequent starring turn opposite Jane Fonda in Fun with Dick and Jane (1977) was a big hit that revitalized her career.

The thriller Rollercoaster (1977) became a modest hit even during a summer which saw it competing with Star Wars: Episode IV - A New Hope (1977), and he gave a adroit comic performance in Who Is Killing the Great Chefs of Europe? (1978) with Jacqueline Bisset and Robert Morley, which proved another box office success. For all practical purposes, even after the failures of The Black Bird (1975), and The Duchess and the Dirtwater Fox (1976), it seemed like Segal, with a few deft career choices, could reorient his career and deliver on the promise of his early period.

At the end of the decade, he dropped out of a movie that would have burnished his tarnished lustre as a star: Blake Edwards' 10 (1979). 10 (1979) made Dudley Moore a star, while Arthur (1981) made him a superstar in the 1980s, a lost decade for Segal. It was an example of a career burnout usually associated with the "Oscar curse" (his No Way to Treat a Lady (1968) co-star Rod Steiger, for example, was a great character actor whose career was run off the rails by the expectations raised by the Academy Award). George Segal has never won an Oscar, but more surprisingly, has only been nominated once, for Best Supporting Actor of 1966 for his role as Nick in Who's Afraid of Virginia Woolf? (1966).

That he didn't return to the promise of the early 1970s may be the unintended consequence of his focusing on comedy to the detriment of drama. The comedy A Touch of Class (1973) made him a million dollar-per-film movie star, and that's what he concentrated on. Segal began relying on his considerable charm to pull off movies that had little going for them other than their star, and it backfired on him. These films weren't infused with the outrageously funny, subversive comedy of Where's Poppa? (1970), a success from his first period that he enjoyed along with co-star Ruth Gordon and director Carl Reiner.

When Segal first made it in the mid-1960s, he established his serious actor bona fides with a deal he cut with ABC-TV that featured him in TV adaptations of Broadway plays. He also played a very memorable Biff Loman in Death of a Salesman (1966), shining in performance in counterpoint to the vital presence that was Lee J. Cobb's Willy Loman. It was a good life for an actor, and he took time to show off his banjo-playing skills by fronting the Beverly Hills Unlisted Jazz Band, with which he cut several records.

While the 1980s were mostly a career wasteland for Segal, with no starring roles in hit films, he remained a popular figure on television, and appeared regularly on The Tonight Show Starring Johnny Carson (1962), where he would routinely sing and play the banjo during interviews. After a major role in the surprise hit Look Who's Talking (1989), he co-starred with Bette Midler and James Caan in For the Boys (1991), leading to a career revival in the 1990s, using his flair for comedy as part of the ensemble cast of Just Shoot Me! (1997). In the 2010s, he co-starred as the eccentric but lovable grandfather on the hit sitcom The Goldbergs (2013). On February 14, 2017, he received a star on the Hollywood Walk of Fame for Television on his 83rd birthday. George Segal died at age 87 of complication from bypass surgery on March 23, 2021 in Santa Rosa, California.

(11/61) Stage: Appeared (as &quot;Purah&quot;) on Broadway in &quot;Gideon&quot; by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0154665/?ref_=nmwrk">Paddy Chayefsky</a>. Plymouth Theatre, New York City.

(1998) Stage: Appeared in &quot;Art&quot; on Broadway. Written by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0722078/?ref_=nmwrk">Yasmina Reza</a>. Translated by <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0358960/?ref_=nmwrk">Christopher Hampton</a>. Incidental music by Gary Yershon. Directed by Matthew Warchus. Royale Theatre: 1 Mar 1998-8 Aug 1999 (600 performances + 20 previews that began on 12 Feb 1996). Cast: <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000257/?ref_=nmwrk">Alan Alda</a> (as &quot;Marc&quot;), <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001255/?ref_=nmwrk">Victor Garber</a> (as &quot;Serge&quot;), <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000547/?ref_=nmwrk">Alfred Molina</a> (as &quot;Yvan&quot;). Replacement actors: <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0004051/?ref_=nmwrk">Brian Cox</a> (as &quot;Marc&quot;), Henry Goodman (as &quot;Serge&quot;), David Haig (as &quot;Yvan&quot;), <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0377750/?ref_=nmwrk">Buck Henry</a> (as &quot;Marc&quot;) [circa 11 May 1999-8 Aug 1999; Broadway debut], <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0002139/?ref_=nmwrk">Judd Hirsch</a> (as &quot;Marc&quot;) [from 22 Dec 1998-?], <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001431/?ref_=nmwrk">Wayne Knight</a> (as &quot;Yvan&quot;) [circa 11 May 1999-8 Aug 1999], <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0608012/?ref_=nmwrk">Joe Morton</a> (as &quot;Serge&quot;) [from 22 Dec 1998-?], <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001719/?ref_=nmwrk">George Segal</a> (as &quot;Serge&quot;) [circa 11 May 1999-8 Aug 1999], <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0001841/?ref_=nmwrk">George Wendt</a> (as &quot;Yvan&quot;) [from 22 Dec 1998-?; roadway debut]. Produced by David Pugh, <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0000125/?ref_=nmwrk">Sean Connery</a> and Joan Cullman. Associate Producer: <a class="ipc-md-link ipc-md-link--entity" href="/name/nm4560857/?ref_=nmwrk">Dafydd Rogers</a> and Stuart Thompson.

(1964) Album: Provided voices for the <a class="ipc-md-link ipc-md-link--entity" href="/name/nm0377750/?ref_=nmwrk">Buck Henry</a> comedy album &quot;At Home With That Other Family&quot; (Roulette Records).

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George Segal

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