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One of the truly great and gifted performers of the century, who often suffered lesser roles, Burgess Meredith was born in 1907 in Cleveland, Ohio. He was educated in Amherst College in Massachusetts, before joining Eva Le Gallienne's Student Repertory stage company in 1929. By 1934 he was a star on Broadway in 'Little 'Ol Boy', a part for which he tied with George M. Cohan as Best Performer of the Year.. He became a favorite of dramatist Maxwell Anderson, premiering on film in the playwright's Winterset (1936). Other Broadway appearances included 'The Barretts of Wimpole Street'. 'The Remarkable Mr Pennypacker', 'Candida', and 'Of Mice and Men. 'Meredith served in the United States Army Air Corps in World War II, reaching the rank of captain. He continued in a variety of dramatic and comedic roles often repeating his stage roles on film until being named an unfriendly witness by the House Un-American Activities Committee in the early 1950s, whereupon studio work disappeared. His career picked up again, especially with television roles, in the 1960s, although younger audiences know him best for either the Rocky (1976) or Grumpy Old Men (1993) films. Meredith also did a large amount of commercial work, serving as the voice for Skippy Peanut Butter and United Air Lines, among others. He was also an ardent environmentalist who believed pollution one of the greatest tragedies of the time, and an opponent of the Vietnam War. Burgess Meredith died at age 89 of Alzheimer's disease and melanoma in his home in Malibu, California on September 9, 1997.

John Wayne was born Marion Robert Morrison in Iowa, to Mary Alberta (Brown) and Clyde Leonard Morrison, a pharmacist. He was of English, Scottish, Ulster-Scots, and Irish ancestry.

Clyde developed a lung condition that required him to move his family from Iowa to the warmer climate of southern California, where they tried ranching in the Mojave Desert. Until the ranch failed, Marion and his younger brother Robert E. Morrison swam in an irrigation ditch and rode a horse to school. When the ranch failed, the family moved to Glendale, California, where Marion delivered medicines for his father, sold newspapers and had an Airedale dog named "Duke" (the source of his own nickname). He did well at school both academically and in football. When he narrowly failed admission to Annapolis he went to USC on a football scholarship 1925-7. Tom Mix got him a summer job as a prop man in exchange for football tickets. On the set he became close friends with director John Ford for whom, among others, he began doing bit parts, some billed as John Wayne. His first featured film was Men Without Women (1930). After more than 70 low-budget westerns and adventures, mostly routine, Wayne's career was stuck in a rut until Ford cast him in Stagecoach (1939), the movie that made him a star. He appeared in nearly 250 movies, many of epic proportions. From 1942-43 he was in a radio series, "The Three Sheets to the Wind", and in 1944 he helped found the Motion Picture Alliance for the Preservation of American Ideals, a Conservative political organization, later becoming its President. His conservative political stance was also reflected in The Alamo (1960), which he produced, directed and starred in. His patriotic stand was enshrined in The Green Berets (1968) which he co-directed and starred in. Over the years Wayne was beset with health problems. In September 1964 he had a cancerous left lung removed; in 1977 when Star Wars: Episode IV - A New Hope was being made, John Waynes archive voice was used for the character Garindan ezz Zavor, later in March 1978 there was heart valve replacement surgery; and in January 1979 his stomach was removed. He received the Best Actor nomination for Sands of Iwo Jima (1949) and finally got the Oscar for his role as one-eyed Rooster Cogburn in True Grit (1969). A Congressional Gold Medal was struck in his honor in 1979. He is perhaps best remembered for his parts in Ford's cavalry trilogy - Fort Apache (1948), She Wore a Yellow Ribbon (1949) and Rio Grande (1950).

Laurence Olivier could speak William Shakespeare's lines as naturally as if he were "actually thinking them," said English playwright Charles Bennett, who met Olivier in 1927. Laurence Kerr Olivier was born in Dorking, Surrey, England, to Agnes Louise (Crookenden) and Gerard Kerr Olivier, a High Anglican priest. His surname came from a great-great-grandfather who was of French Huguenot origin.

One of Olivier's earliest successes as a Shakespearean actor on the London stage came in 1935 when he played "Romeo" and "Mercutio" in alternate performances of "Romeo and Juliet" with John Gielgud. A young Englishwoman just beginning her career on the stage fell in love with Olivier's Romeo. In 1937, she was "Ophelia" to his "Hamlet" in a special performance at Kronborg Castle, Elsinore (Helsingør), Denmark. In 1940, she became his second wife after both returned from making films in America that were major box office hits of 1939. His film was Wuthering Heights (1939), her film was Gone with the Wind (1939). Vivien Leigh and Olivier were screen lovers in Fire Over England (1937), 21 Days Together (1940) and That Hamilton Woman (1941).

There was almost a fourth film together in 1944 when Olivier and Leigh traveled to Scotland with Charles C. Bennett to research the real-life story of a Scottish girl accused of murdering her French lover. Bennett recalled that Olivier researched the story "with all the thoroughness of Sherlock Holmes" and "we unearthed evidence, never known or produced at the trial, that would most certainly have sent the young lady to the gallows." The film project was then abandoned. During their two-decade marriage, Olivier and Leigh appeared on the stage in England and America and made films whenever they really needed to make some money.

In 1951, Olivier was working on a screen adaptation of Theodore Dreiser's novel "Sister Carrie" (Carrie (1952)) while Leigh was completing work on the film version of the Tennessee Williams' play, A Streetcar Named Desire (1951). She won her second Oscar for bringing "Blanche DuBois" to the screen. Carrie (1952) was a film that Olivier never talked about. George Hurstwood, a middle-aged married man from Chicago who tricked a young woman into leaving a younger man about to marry her, became a New York street person in the novel. Olivier played him as a somewhat nicer person who didn't fall quite as low. A PBS documentary on Olivier's career broadcast in 1987 covered his first sojourn in Hollywood in the early 1930s with his first wife, Jill Esmond, and noted that her star was higher than his at that time. On film, he was upstaged by his second wife, too, even though the list of films he made is four times as long as hers.

More than half of his film credits come after The Entertainer (1960), which started out as a play in London in 1957. When the play moved across the Atlantic to Broadway in 1958, the role of "Archie Rice"'s daughter was taken over by Joan Plowright, who was also in the film. They married soon after the release of The Entertainer (1960).

Today Barbara Stanwyck is remembered primarily as the matriarch of the family known as the Barkleys on the TV western The Big Valley (1965), wherein she played Victoria, and from the hit drama The Colbys (1985). But she was known to millions of other fans for her movie career, which spanned the period from 1927 until 1964, after which she appeared on television until 1986. It was a career that lasted for 59 years.

Barbara Stanwyck was born Ruby Catherine Stevens on July 16, 1907, in Brooklyn, New York, to working class parents Catherine Ann (McPhee) and Byron E. Stevens. Her father, from Massachusetts, had English ancestry, and her Canadian mother, from Nova Scotia, was of Scottish and Irish descent. Stanwyck went to work at the local telephone company for fourteen dollars a week, but she had the urge (a dream--that was all it was) somehow to enter show business. When not working, she pounded the pavement in search of dancing jobs. The persistence paid off. Barbara was hired as a chorus girl for the princely sum of $40 a week, much better than the wages she was getting from the phone company. She was seventeen, and was going to make the most of the opportunity that had been given her.

In 1928 Barbara moved to Hollywood, where she was to start one of the most lucrative careers filmdom had ever seen. She was an extremely versatile actress who could adapt to any role. Barbara was equally at home in all genres, from melodramas, such as Forbidden (1932) and Stella Dallas (1937), to thrillers, such as Double Indemnity (1944), one of her best films, also starring Fred MacMurray (as you have never seen him before). She also excelled in comedies such as Remember the Night (1939) and The Lady Eve (1941). Another genre she excelled in was westerns, Union Pacific (1939) being one of her first and TV's The Big Valley (1965) (her most memorable role) being her last. In 1983, she played in the ABC hit mini-series The Thorn Birds (1983), which did much to keep her in the eye of the public. She turned in an outstanding performance as Mary Carson.

Barbara was considered a gem to work with for her serious but easygoing attitude on the set. She worked hard at being an actress, and she never allowed her star quality to go to her head. She was nominated for four Academy Awards, though she never won. She turned in magnificent performances for all the roles she was nominated for, but the "powers that be" always awarded the Oscar to someone else. However, in 1982 she was awarded an honorary Academy Award for "superlative creativity and unique contribution to the art of screen acting." Sadly, Barbara died on January 20, 1990, leaving 93 movies and a host of TV appearances as her legacy to us.

Katharine Houghton Hepburn was born on May 12, 1907 in Hartford, Connecticut to a suffragist, Katharine Martha (Houghton), and a doctor, Thomas Norval Hepburn, who both always encouraged her to speak her mind, develop it fully, and exercise her body to its full potential. An athletic tomboy as a child, she was very close to her brother Tom; at 14 she was devastated to find him dead, the apparent result of accidentally hanging himself while practicing a hanging trick their father had taught them. For many years afterward, she used his November 8 birth date as her own. She became shy around girls her age and was largely schooled at home. She did attend Bryn Mawr College, where she decided to become an actress, appearing in many of their productions.

After graduating, she began getting small roles in plays on Broadway and elsewhere. She always attracted attention, especially for her role in "Art and Mrs. Bottle" (1931). She finally broke into stardom when she took the starring role of the Amazon princess Antiope in "A Warrior's Husband" (1932). The inevitable film offers followed; after making a few screen tests, she was cast in A Bill of Divorcement (1932), opposite John Barrymore. The film was a hit, and after agreeing to her salary demands, RKO signed her to a contract. She made five films between 1932 and 1934. For her third, Morning Glory (1933), she won her first Academy Award. Her fourth, Little Women (1933), was the most successful picture of its day.

But stories were beginning to leak out, of her haughty behavior off- screen and her refusal to play the Hollywood Game, always wearing slacks and no makeup, never posing for pictures or giving interviews. Audiences were shocked at her unconventional behavior instead of applauding it, and so when she returned to Broadway in 1934 to star in "The Lake", the critics panned her, and the audiences, who at first bought up tickets, soon deserted her. When she returned to Hollywood, things didn't get much better. From 1935-1938, she had only two hits: Alice Adams (1935), which brought her her second Oscar nomination, and Stage Door (1937); the many flops included Break of Hearts (1935), Sylvia Scarlett (1935), Mary of Scotland (1936), Quality Street (1937), and the now-classic Bringing Up Baby (1938).

With so many flops, she came to be labeled "box-office poison". She decided to go back to Broadway to star in "The Philadelphia Story" (1938) and was rewarded with a smash. She quickly bought the film rights and so was able to negotiate her way back to Hollywood on her own terms, including her choice of director and co-stars. The Philadelphia Story (1940) was a box-office hit, and Hepburn, who won her third Oscar nomination for the film, was bankable again. For her next film, Woman of the Year (1942), she was paired with Spencer Tracy, and the chemistry between them lasted for eight more films, spanning the course of 25 years, and a romance that lasted that long off-screen. (She received her fourth Oscar nomination for the film.) Their films included the very successful Adam's Rib (1949), Pat and Mike (1952), and Desk Set (1957).

With The African Queen (1951), Hepburn moved into middle-aged spinster roles, receiving her fifth Oscar nomination for the film. She played more of these types of roles throughout the 1950s, and won more Oscar nominations for many of them, including her roles in Summertime (1955), The Rainmaker (1956), and Suddenly, Last Summer (1959). Her film roles became fewer and farther between in the 1960s, as she devoted her time to the ailing Tracy. For one of her film appearances in this decade, in Long Day's Journey Into Night (1962), she received her ninth Oscar nomination. After a five-year absence from films, she then made Guess Who's Coming to Dinner (1967), her last film with Tracy and the last film Tracy ever made; he died just weeks after finishing it. It garnered Hepburn her tenth Oscar nomination and her second win. The next year, she did The Lion in Winter (1968), which brought her her eleventh Oscar nomination and third win.

In the 1970s, she turned to making made-for-TV films, with The Glass Menagerie (1973), Love Among the Ruins (1975), and The Corn Is Green (1979). She still continued to make an occasional appearance in feature films, such as Rooster Cogburn (1975) with John Wayne and On Golden Pond (1981) with Henry Fonda. This last brought her her twelfth Oscar nomination and fourth win - the latter still the record.

She made more TV-films in the 1980s and wrote her autobiography, 'Me', in 1991. Her last feature film was Love Affair (1994), with Warren Beatty and Annette Bening, and her last TV- film was One Christmas (1994). With her health declining, she retired from public life in the mid-1990s. She died at 96 at her home in Old Saybrook, Connecticut.

Joan Crawford was born Lucille Fay LeSueur in San Antonio, Texas, to Anna Belle (Johnson) and Thomas E. LeSueur, a laundry laborer. By the time she was born, her parents had separated, and by the time she was a teenager, she'd had three stepfathers. It wasn't an easy life; Crawford worked a variety of menial jobs. She was a good dancer, though, and -- perhaps seeing dance as her ticket to a career in show business -- she entered several contests, one of which landed her a spot in a chorus line. Before long, she was dancing in big Midwestern and East Coast cities. After almost two years, she packed her bags and moved to Hollywood. Crawford was determined to succeed, and shortly after arriving she got her first bit part, as a showgirl in Pretty Ladies (1925).

Three films quickly followed; although the roles weren't much to speak of, she continued toiling. Throughout 1927 and early 1928, she was cast in small parts, but that ended with the role of Diana Medford in Our Dancing Daughters (1928), which elevated her to star status. Crawford had cleared the first big hurdle; now came the second, in the form of talkies. Many stars of the silents saw their careers evaporate, either because their voices weren't particularly pleasant or because their voices, pleasing enough, didn't match the public's expectations (for example, some fans felt that John Gilbert's tenor didn't quite match his very masculine persona). But Crawford wasn't felled by sound. Her first talkie, Untamed (1929), was a success. As the 1930s progressed, Crawford became one of the biggest stars at MGM. She was in top form in films such as Grand Hotel (1932), Sadie McKee (1934), No More Ladies (1935), and Love on the Run (1936); movie patrons were enthralled, and studio executives were satisfied.

By the early 1940s, MGM was no longer giving her plum roles; newcomers had arrived in Hollywood, and the public wanted to see them. Crawford left MGM for rival Warner Bros., and in 1945 she landed the role of a lifetime. Mildred Pierce (1945) gave her an opportunity to show her range as an actress, and her performance as a woman driven to give her daughter everything garnered Crawford her first, and only, Oscar for Best Actress. The following year she appeared with John Garfield in the well-received Humoresque (1946). In 1947, she appeared as Louise Graham in Possessed (1947); again she was nominated for a Best Actress from the Academy, but she lost to Loretta Young in The Farmer's Daughter (1947). Crawford continued to choose her roles carefully, and in 1952 she was nominated for a third time, for her depiction of Myra Hudson in Sudden Fear (1952). This time the coveted Oscar went to Shirley Booth, for Come Back, Little Sheba (1952). Crawford's career slowed after that; she appeared in minor roles until 1962, when she and Bette Davis co-starred in What Ever Happened to Baby Jane? (1962). Their longstanding rivalry may have helped fuel their phenomenally vitriolic and well-received performances. (Earlier in their careers, Davis said of Crawford, "She's slept with every male star at MGM except Lassie", and Crawford said of Davis, "I don't hate [her] even though the press wants me to. I resent her. I don't see how she built a career out of a set of mannerisms instead of real acting ability. Take away the pop eyes, the cigarette, and those funny clipped words, and what have you got? She's phony, but I guess the public really likes that.")

Crawford's final appearance on the silver screen was in the flop Trog (1970). Turning to vodka more and more, she was hardly seen afterward. On May 10, 1977, Joan died of a heart attack in New York City. She was 70 years old. She had disinherited her adopted daughter Christina and son Christopher; the former wrote a tell-all book called "Mommie Dearest", The Sixth Sense published in 1978. The book cast Crawford in a negative light and was cause for much debate, particularly among her friends and acquaintances, including Douglas Fairbanks Jr., Crawford's first husband. (In 1981, Faye Dunaway starred in Mommie Dearest (1981) which did well at the box office.) Crawford is interred in the same mausoleum as fellow MGM star Judy Garland, in Ferncliff Cemetery in Hartsdale, New York.

A former song-and-dance man and veteran of vaudeville, burlesque and Broadway, Jack Albertson is best known to audiences as "The Man" in the TV series Chico and the Man (1974), for which he won an Emmy. In 1968 Albertson, the brother of actress Mabel Albertson, won the Oscar for Best Supporting Actor in The Subject Was Roses (1968), a part which also won him the Tony award during its Broadway run.

The middle of seven children, she was named, not for the heroine of "As You Like It" but for the S.S. Rosalind on which her parents had sailed, at the suggestion of her father, a successful lawyer.

After receiving a Catholic school education, she went to the American Academy of Dramatic Art in New York, having convinced her mother that she intended to teach acting. In 1934, with some stock company work and a little Broadway experience, she was tested and signed by Universal. Simultaneously, MGM tested her and made her a better offer. When she plead ignorance of Hollywood (while wearing her worst-fitting clothes), Universal released her and she signed with MGM for seven years.

For some time she was used in secondary roles and as a replacement threat to limit Myrna Loy's salary demands. Knowing she was right for comedy, she tested five times for the role of Sylvia Fowler in The Women (1939). George Cukor told her to "play her as a freak". She did and got the part. Her "boss lady" roles began with the part of reporter Hildy Johnson in His Girl Friday (1940), through whose male lead, Cary Grant, she met her future husband, Grant's house-guest at the time.

In her forties, she returned to the stage, touring "Bell, Book and Candle" in 1951 and winning a Tony Award for "Wonderful Town" in 1953. Columbia, worried the public would think she had the female lead in Picnic (1955), billed her "co-starring Rosalind Russell as Rosemary." She refused to be placed in the Best Supporting Actress category when Columbia Pictures wanted to promote her for an Academy Award nomination for her role in Picnic (1955). Many felt she would have won had she cooperated. "Auntie Mame" kept her on Broadway for two years followed by the movie version.

Oscar nominations: My Sister Eileen (1942), Sister Kenny (1946), Mourning Becomes Electra (1947), and Auntie Mame (1958). In 1972, she received the Jean Hersholt Humanitarian Award for contributions to charity.

Ray Milland became one of Paramount's most bankable and durable stars, under contract from 1934 to 1948, yet little in his early life suggested a career as a motion picture actor.

Milland was born Alfred Reginald Jones in the Welsh town of Neath, Glamorgan, to Elizabeth Annie (Truscott) and Alfred Jones. He spent his youth in the pursuit of sports. He became an expert rider early on, working at his uncle's horse-breeding estate while studying at the King's College in Cardiff. At 21, he went to London as a member of the elite Household Cavalry (Guard for the Royal Family), undergoing a rigorous 19-months training, further honing his equestrian skills, as well as becoming adept at fencing, boxing and shooting. He won trophies, including the Bisley Match, with his unit's crack rifle team. However, after four years, he suddenly lost his means of financial support (independent income being a requirement as a Guardsman) when his stepfather discontinued his allowance. Broke, he tried his hand at acting in small parts on the London stage.

There are several stories as to how he derived his stage name. It is known, that during his teens he called himself "Mullane", using his stepfather's surname. He may later have suffused "Mullane" with "mill-lands", an area near his hometown. When he first appeared on screen in British films, he was billed first as Spike Milland, then Raymond Milland.

In 1929, Ray befriended the popular actress Estelle Brody at a party and, later that year, visited her on the set of her latest film, The Plaything (1929). While having lunch, they were joined by a producer who persuaded the handsome Welshman to appear in a motion picture bit part. Ray rose to the challenge and bigger roles followed, including the male lead in The Lady from the Sea (1929). The following year, he was signed by MGM and went to Hollywood, but was given little to work with, except for the role of Charles Laughton's ill-fated nephew in Payment Deferred (1932). After a year, Ray was out of his contract and returned to England.

His big break did not come until 1934 when he joined Paramount, where he was to remain for the better part of his Hollywood career. During the first few years, he served an apprenticeship playing second leads, usually as the debonair man-about-town, in light romantic comedies. He appeared with Burns and Allen in Many Happy Returns (1934), enjoyed third-billing as a British aristocrat in the Claudette Colbert farce The Gilded Lily (1935) and was described as "excellent" by reviewers for his role in the sentimental drama Alias Mary Dow (1935). By 1936, he had graduated to starring roles, first as the injured British hunter rescued on a tropical island by The Jungle Princess (1936), the film which launched Dorothy Lamour's sarong-clad career. After that, he was the titular hero of Bulldog Drummond Escapes (1937) and, finally, won the girl (rather than being the "other man") in Mitchell Leisen's screwball comedy Easy Living (1937). He also re-visited the tropics in Ebb Tide (1937), Her Jungle Love (1938) and Tropic Holiday (1938), as well as being one of the three valiant brothers of Beau Geste (1939).

In 1940, Ray was sent back to England to star in the screen adaptation of Terence Rattigan's French Without Tears (1940), for which he received his best critical reviews to date. He was top-billed (above John Wayne) running a ship salvage operation in Cecil B. DeMille's lavish Technicolor adventure drama Reap the Wild Wind (1942), besting Wayne in a fight - much to the "Duke's" personal chagrin - and later wrestling with a giant octopus. Also that year, he was directed by Billy Wilder in a charming comedy, The Major and the Minor (1942) (co-starred with Ginger Rogers), for which he garnered good notices from Bosley Crowther of the New York Times. Ray then played a ghost hunter in The Uninvited (1944), and the suave hero caught in a web of espionage in Fritz Lang's thriller Ministry of Fear (1944).

On the strength of his previous role as "Major Kirby", Billy Wilder chose to cast Ray against type in the ground-breaking drama The Lost Weekend (1945) as dipsomaniac writer "Don Birnam". Ray gave the defining performance of his career, his intensity catching critics, used to him as a lightweight leading man, by surprise. Crowther commented "Mr. Milland, in a splendid performance, catches all the ugly nature of a 'drunk', yet reveals the inner torment and degradation of a respectable man who knows his weakness and his shame" (New York Times, December 3, 1945). Arrived at the high point of his career, Ray Milland won the Oscar for Best Actor, as well as the New York Critic's Award. Rarely given such good material again, he nonetheless featured memorably in many more splendid films, often exploiting the newly discovered "darker side" of his personality: as the reporter framed for murder by Charles Laughton's heinous publishing magnate in The Big Clock (1948); as the sophisticated, manipulating art thief "Mark Bellis" in the Victorian melodrama So Evil My Love (1948) (for which producer Hal B. Wallis sent him back to England); as a Fedora-wearing, Armani-suited "Lucifer", trawling for the soul of an honest District Attorney in Alias Nick Beal (1949); and as a traitorous scientist in The Thief (1952), giving what critics described as a "sensitive" and "towering" performance. In 1954, Ray played calculating ex-tennis champ "Tony Wendice", who blackmails a former Cambridge chump into murdering his wife, in Alfred Hitchcock's Dial M for Murder (1954). He played the part with urbane sophistication and cold detachment throughout, even in the scene of denouement, calmly offering a drink to the arresting officers.

With Lisbon (1956), Ray Milland moved into another direction, turning out several off-beat, low-budget films with himself as the lead, notably High Flight (1957), The Safecracker (1958) and Panic in Year Zero! (1962). At the same time, he cheerfully made the transition to character parts, often in horror and sci-fi outings. In accordance with his own dictum of appearing in anything that had "any originality", he worked on two notable pictures with Roger Corman: first, as a man obsessed with catalepsy in The Premature Burial (1962); secondly, as obsessed self-destructive surgeon "Dr. Xavier" in X: The Man with the X-Ray Eyes (1963)-the Man with X-Ray Eyes, a film which, despite its low budget, won the 1963 Golden Asteroid in the Trieste Festival for Science Fiction.

As the years went on, Ray gradually disposed of his long-standing toupee, lending dignity through his presence to many run-of-the-mill television films, such as Cave in! (1983) and maudlin melodramas like Love Story (1970). He guest-starred in many anthology series on television and had notable roles in Rod Serling's Night Gallery (1969) and the original Battlestar Galactica (1978) (as Quorum member Sire Uri). He also enjoyed a brief run on Broadway, starring as "Simon Crawford" in "Hostile Witness" (1966), at the Music Box Theatre.

In his private life, Ray was an enthusiastic yachtsman, who loved fishing and collecting information by reading the Encyclopedia Brittanica. In later years, he became very popular with interviewers because of his candid spontaneity and humour. In the same self-deprecating vein he wrote an anecdotal biography, "Wide-Eyed in Babylon", in 1976. A film star, as well as an outstanding actor, Ray Milland died of cancer at the age of 79 in March 1986.

Dan Duryea was educated at Cornell University and worked in the advertising business before pursuing his career as an actor. Duryea made his Broadway debut in the play "Dead End." The critical acclaim he won for his performance as Leo Hubbard in the Broadway production of "The Little Foxes" led to his appearance in the film version, in the same role.

Tall, suave and sophisticated Cesar Romero actually had two claims to fame in Hollywood. To one generation, he was the distinguished Latin lover of numerous musicals and romantic comedies, and the rogue bandit The Cisco Kid in a string of low-budget westerns. However, to a younger generation weaned on television, Romero was better known as the white-faced, green-haired, cackling villain The Joker of the camp 1960s TV series Batman (1966), and as a bumbling corporate villain in a spate of Walt Disney comedies, such as chasing a young Kurt Russell in the fun-packed The Computer Wore Tennis Shoes (1969). Fans and critics alike agreed that Romero was a major talent who proved himself an enduring and versatile star in an overwhelming variety of roles in a career as an actor, dancer and comedian that lasted nearly 60 years.

Cesar Romero was born of Cuban parents in New York City in February 1907. He attended the Collegiate School and Riverdale Country School before working as a ballroom dancer. He first appeared on Broadway in the 1927 production of Lady Do, and then in the stage production of Strictly Dishonorable. His first film role was in The Shadow Laughs (1933), after which he gave strong performances in The Devil Is a Woman (1935) and in the Shirley Temple favorite, Wee Willie Winkie (1937).

Critics and fans generally agree that Romero's best performance was as the Spanish explorer Cortez in Captain from Castile (1947). However, he also shone in the delightful Julia Misbehaves (1948) and several other breezy and lighthearted escapades. In 1953 he starred in the 39-part espionage TV serial Passport to Danger (1954), which earned him a considerable income due to a canny profit-sharing arrangement. Although Romero became quite wealthy and had no need to work, he could not stay away from being in front of the cameras. He continued to appear in a broad variety of film roles, but surprised everyone in Hollywood by taking on the role of "The Joker" in the hugely successful TV series Batman (1966). He refused to shave his trademark mustache for the role, and close observation shows how the white clown makeup went straight on over his much loved mustache! The appearances in Batman were actually only a small part of the enormous amount of work that Romero contributed to television. He guest-starred in dozens of shows, including Rawhide (1959), 77 Sunset Strip (1958), Zorro (1957), Fantasy Island (1977) and Murder, She Wrote (1984). However, it was The Joker for which his TV work was best remembered, and Romero often remarked that for many, many years after Batman ended, fans would stop him and ask him to chuckle and giggle away just like he did as The Joker. Romero always obliged, and both he and the fans just loved it!

With a new appeal to a younger fan base, Romero turned up in three highly popular Disney comedies: The Computer Wore Tennis Shoes (1969), Now You See Him, Now You Don't (1972) and The Strongest Man in the World (1975) as corrupt but inept villain A.J. Arno. Throughout the remainder of the 1980s Romero remained busy, and even at 78 years of age the ladies still loved his charm, and he was cast as Jane Wyman's love interest in the top-rated prime-time soap opera Falcon Crest (1981), playing Peter Stavros from 1985 to 1987.

Although Romero stopped acting in 1990, he remained busy, regularly hosting classic movie programs on cable television. A talented and much loved Hollywood icon, he passed away on New Year's Day 1994, at the age of 86.

As a nine-year-old boy, Leon Askin recited a 17-stanza eulogy for Emperor Franz Josef in front of the city hall in Vienna's 9th District. Little did the son of a salesman know then that he would one day be the student of Max Reinhardt and Louise Dumont, and discover Jura Soyfer while directing the political cabaret "ABC". Emigration brought him into contact with even more 20th-century luminaries: in 1938 he met Erwin Piscator, the founder of the school of Epic Realism, and worked with him for the next 30 years. On the set of Billy Wilder's One, Two, Three (1961), Wilder once exclaimed, "Here comes my professional!" Askin, who was often cast as the "funny villain", performed alongside Richard Burton, Doris Day and James Cagney. It is not merely exposure to big stars that distinguishes Leon Askin, though. He captured the hearts of critics and audiences with his impressive stage performances of "Faust" and "Shylock" on Broadway, which he also directed, and "Othello" in Hamburg. In addition, Askin made TV history as Gen. Burkhalter in the series Hogan's Heroes (1965).

Dub Taylor was born on 26 February 1907 in Richmond, Virginia, USA. He was an actor and director, known for The Getaway (1972), The Wild Bunch (1969) and You Can't Take It with You (1938). He was married to Florence Gertrude Heffernan. He died on 3 October 1994 in Los Angeles, California, USA.

John McIntire possessed the requisite grit, craggy features and crusty, steely-eyed countenance to make for one of television and film's most durable supporting players in western settings and film noir. Born in Spokane, Washington in 1907 and the son of a lawyer, he grew up in Montana where he learned to raise and ride broncos on the family homestead. After two years at USC, he spent some time out at sea before turning his attentions to entertainment and the stage. As a radio announcer, he gained quite a following announcing on the "March of Time" broadcasts.

In the late 1940s, John migrated west and found a niche for himself in rugged oaters and crimers. Normally the politicians, ranchers and lawmen he portrayed could be counted on for their integrity, maturity and worldly wise, no-nonsense approach to life such as in Black Bart (1948), Down to the Sea in Ships (1949), The Asphalt Jungle (1950), Scene of the Crime (1949) Ambush (1950) Saddle Tramp (1950) and The World in His Arms (1952). However, director Anthony Mann tapped his versatility and gave him a few shadier, more interesting villains to play in two of his top-notch western films: Winchester '73 (1950) and The Far Country (1954) and a kindhearted role in The Tin Star (1957). Television helped John gain an even stronger foothold in late 1950s Hollywood. Although his character departed the first season of the Naked City (1958) program, he became a familiar face in two other classic western series. He won the role of Christopher Hale in 1961 after Wagon Train (1957) series' star Ward Bond died, and then succeeded the late Charles Bickford in The Virginian (1962) in 1967 playing Bickford's brother, Clay Grainger, for three years.

John's deep, dusty, resonant voice was utilized often for narratives and documentaries. In the ensuing years, he and his longtime wife, actress Jeanette Nolan, became the Ossie Davis and Ruby Dee of the sagebrush set, appearing together as the quintessential frontier couple for decades and decades. They were married for 56 years until John's death of emphysema in 1991. They both outlived their son, Tim McIntire, a strapping, imposing actor himself, who died in 1986 of heart problems.

Helen Kleeb was born on 6 January 1907 in South Bend, Washington, USA. She was an actress, known for The Party (1968), Seven Days in May (1964) and The Best Little Whorehouse in Texas (1982). She was married to Elmer Garrison and John Gerald Prendergast. She died on 28 December 2003 in Los Angeles, California, USA.

Quiet, soft-spoken Robert grew up in California and had some stage experience with the Pasadena Playhouse before entering films in 1931. His movie career consisted of playing characters who were charming, good-looking--and bland. In fact, his screen image was such that he usually never got the girl. Louis B. Mayer would say, "He has no sex appeal," but he had a work ethic that prepared him for every role that he played. And he did play in as many as eleven films per year for a decade starting with The Black Camel (1931). He was notable as the spy in Alfred Hitchcock's Secret Agent (1936), but the '40s was the decade in which he was to have most of his best roles. These included Northwest Passage (1940); Western Union (1941); and H.M. Pulham, Esq. (1941). Good roles followed, from the husband of Dorothy McGuirein Claudia (1943) to the detective in Crossfire (1947), but they were becoming scarce. In 1949, Robert started a radio show called "Father Knows Best" wherein he played Jim Anderson, an average father with average situations--a role which was tailor-made for him. Basically retiring from films, he starred in this program for five years on radio before it went to television in 1954. After a slight falter in the ratings and a switch from CBS to NBC, it became a mainstay of television until it was canceled in 1960. He continued making guest appearances on various television shows and working in television movies. In 1969, he starred as Dr. Marcus Welby in the TV movie A Matter of Humanities (1969). The Marcus Welby series that followed ran from 1969 through 1976 and featured James Brolin as his assistant, Dr. Steven Kiley--the doc with the bike. After the series ended, Robert, now in his seventies, finally licked his 30-year battle with alcohol and occasionally appeared in television movies through the 1980s.

Arlene Francis, the witty actress and popular television personality, was born Arlene Francis Kazanjian on Oct. 20, 1907, in Boston. Her father was an Armenian immigrant, later painter and portrait photographer; her mother was the daughter of actor Alfred Davis. Even at an early age, Arlene said, "I started out with one goal: I wanted to be a serious actress." She studied at the Theatre Guild and then went to Hollywood. Her movie debut was in Murders in the Rue Morgue (1932), in which Bela Lugosi (often cast as a villain or mad scientist in many of his over 40 horror movies) tied her to an X-cross to extract her blood (trivia: Arlene and Bela were both born on Oct. 20). The live theater, however, was her first love, and she appeared in many plays. In 1935, she married movie executive Neil Agnew; they'd stay together for 10 years. Arlene made her Broadway debut in 1936 and had her first major role in "All That Glitters" two years later. She appeared with Orson Welles in the Mercury Theatre production of "Danton's Death" in 1938, and in "Journey to Jerusalem" in 1940. Her big hit was "The Doughgirls" in 1942; it ran for 1-1/2 years. Arlene had auditioned for her first radio part at the same time she was getting started in the theater; she later recalled, "Radio came easily." In the 1940s, she played in as many as five radio serials a day. Arlene married actor Martin Gabel in 1946 (he died in 1986), and they had a son, Peter. She also was host of a radio dating show called "Blind Date," which was adapted to a TV series in 1949 (Your Big Moment (1949)), and she was the host (1949-1952). It was television that brought Arlene fame, and she became one of the highest-paid women in TV. Arlene was a permanent panelist on CBS' What's My Line? (1950) (a Mark Goodson-Bill Todman production) from 1950 through 1967 and continued as a panelist in a syndicated version that ran until 1975, thus being with the show for its entire 25-year run. She was warm, witty and had a cute laugh--and was always fashionably dressed. She wore a diamond heart-shaped necklace, which started a fad. She was still doing radio while on TV, and in 1960, she was the star of "The Arlene Francis Show," a daily interview show in New York, on WOR; it ran for 23 years. Arlene retired from show business after that and lived comfortably. She was still giving interviews in 1991. Arlene spent her last years living in San Francisco. Arlene died of cancer on Thursday, May 31, 2001, in a San Francisco hospital, at age 93. Her many fans will miss her, Arlene was truly one of the greats.

Quite a familiar lady and notorious busybody on 1950s and '60s TV and film, petite, red-headed character actress Lurene Tuttle was born in Pleasant Lake, Indiana and raised on a ranch close to the Arizona border. Her father, O.V. Tuttle, started out as a performer in minstrels, but found a job as a railroad-station agent when times got hard. Her grandfather was a drama teacher who once managed an opera house in Angola, Indiana. As a child, she studied acting in Phoenix and was known for her scene-stealing comedy antics even at that early age.

At age 15, the family relocated to Monrovia, California, and it was there that Tuttle began her career. She received dramatic training at the Pasadena Playhouse and appeared in many of their productions, including "The Playboy of the Western World." She subsequently became a troupe member of Murphy's Comedians, a vaudeville company, and then eventually extended her range as a dramatic ingénue in stock shows. Although making it to Broadway somehow slipped through her fingers, Tuttle worked on stage consistently throughout the 1920s and 1930s. Known for her speaking voice and mastery of a wide range of dialects, she found a new avenue in radio during the Depression and became one of that medium's most-recognized voices playing both sweet and sour characters. Dubbed the "First Lady of Radio," her best-remembered role came as Effie, the altruistic "Girl Friday" on "The Adventures of Sam Spade" opposite Howard Duff's cynical-edged gumshoe. Red Skelton also admired her versatility and used her frequently in a variety of parts on his radio show.

Film and TV presented itself to her strongly in the 1950s, by this time fitting in comfortably whether a warm and wise wife and mother or brittle matron. Following her film debut in Heaven Only Knows (1947), Tuttle lent able support alongside film's top stars including Cary Grant in Mr. Blandings Builds His Dream House (1948) and Room for One More (1952); Marilyn Monroe in Don't Bother to Knock (1952) and Niagara (1953); Joan Crawford in Goodbye, My Fancy (1951); Leslie Caron in The Glass Slipper (1955); and even Liberace when he tried to go legit in Sincerely Yours (1955). It was a rare occasion, however, when she was given a chance to truly shine in a prime supporting role. She could always be counted on to steal a bit of focus with just a sly grin or cynical look as she did playing the brief part of the sheriff's wife in Alfred Hitchcock's horror classic Psycho (1960). One of those rare exceptions when Tuttle actually top-lined a film came with her crazed portrayal of the title character in Ma Barker's Killer Brood (1960). Here Tuttle pulled out all the stops in this admittedly fictional "B" crimer, going totally ballistic as the Ozark matriarch who, along with her boys, sets people on fire, runs over cops, and tommyguns her way into infamy. On the small screen, Tuttle was an amusing regular in a plethora of sitcoms, playing starchy relatives or gossipy townsfolk. Most audiences remember her quite fondly as the matriarch in Life with Father (1953) opposite Leon Ames, and as the crusty senior nurse on the Diahann Carroll series Julia (1968). She and Ames took the play "Life With Father" on the road several times after the series' demise.

Off-stage, Tuttle was married to fellow actor and announcer Mel Ruick; their paths initially crossed while both were performing in radio. Their daughter was musical comedy actress Barbara Ruick, best known for playing Carrie Pipperidge in the classic film musical Carousel (1956). The couple eventually divorced, and Tuttle wed again, but the marriage was short-lived. Tragically, her only child, who was married to epic film composer John Williams of "Star Wars" fame, died unexpectedly in 1974.

Tuttle was a well-respected drama and diction coach for several decades. She began teaching radio technique in the 1940s and re-trained some prominent actors who were returning from extensive WWII duty. After a lengthy departure in the 1950s due to TV commitments, she returned to to teaching acting almost to the end. Some of her more famous students included Red Skelton, Orson Welles, Milton Berle, Steve Allen, and Jayne Meadows. She lived out the rest of her life in Southern California and succumbed to cancer at age 78. In addition to her famous son-in-law, she was survived by her three grandchildren: Jennifer Gruska, a story editor; Mark Towner Williams, a drummer; and Joseph Williams, a composer and singer.

Veteran character actor John Marley was one of those familiar but nameless faces that television and filmgoers did not take a shine to until the late 1960s, when he had already hit middle age. Quite distinctive with his dour, craggy face, dark bushy brows and upswept silvery hair, John started life in Harlem, Manhattan, New York as Mortimer Marlieb on October 17, 1907. The son of Russian-Jewish immigrants, he was a City of New York College dropout heading for trouble when he avoided his omnipresent gangland trappings by joining a theater group.

His young, lackluster career was interrupted after joining the Army Signal Corps during World War II. Upon his return to civilian life, he pursued his acting interest and earned minor roles in the Broadway plays "Skipper Next to God" (1948), "An Enemy of the People" (1950), "Gramercy Ghost" (1951) and "Dinosaur Wharf" (1951). Looking for on-camera work at the same time, Marley obtained atmospheric bits (crooks, reporters, cabbies, etc.) in such post-war films as Kiss of Death (1947), The Naked City (1948), Ma and Pa Kettle Go to Town (1950) and Guilty Bystander (1950).

In the mid-1950s, Marley started slowly moving up into featured roles that were often ethnic (Greek, Italian) in origin. He appeared in a number of TV anthologies such as "Colgate Theatre," "Philco Television Playhouse," "Armstrong Circle Theatre," "Omnibus," "Goodyear Playhouse," "The Alcoa Hour" and "Robert Montgomery Presents." As for film work, he seemed best suited for urban drama, earning roles in The Mob (1951), My Six Convicts (1952), The Joe Louis Story (1953), The Square Jungle (1955) and I Want to Live! (1958).

Finding stronger roles on Broadway with "The Strong Are Lonely" (1953), "Sing Till Tomorrow," Marley went on to appear in "Compulsion" (1957) and "The Investigation" (1966). In the late 1950s he became a steady, sobering presence playing both sides of the legal fence with guest parts on "The Red Skelton Show," "The Jackie Gleason Show," "The Phil Silvers," "Cheyenne," "Peter Gunn," "Rawhide," "Maverick," "Hawaiian Eye," "The Untouchables," "Sea Hunt," "Perry Mason," "Dr. Kildare," "The Twilight Zone," "Gunsmoke," "The Wild, Wild West" and "Peyton Place." He was an infrequent player, however, on films -- Pay or Die! (1960), A Child Is Waiting (1963), The Wheeler Dealers (1963), America America (1963) and as Jane Fonda's father in the comedy western Cat Ballou (1965).

A stage director on the side, Marley finally earned acclaim for his starring role as a middle-aged husband who leaves his long-time wife Lynn Carlin for another woman Gena Rowlands in John Cassavetes' stark, improvisational indie Faces (1968). HIs intense, sterling work in the social drama earned him the Venice Film Festival Award for "Best Actor." Thereafter he became more in demand, earning Oscar and Golden Globe support nominations as Ali MacGraw's mournful, blue-collar dad in the box-office smash Love Story (1970) and cult fame as the mouthy movie titan who becomes unexpected bedmates with a horse's head after refusing Mafia Don Marlon Brando's offer in the Oscar-winning epic The Godfather (1972). Thanks to those two pictures alone, Marley, now in his mid-60s, would become a sturdy Hollywood fixture, although none of his subsequent roles would measure up to the importance or fame of the last three pictures mentioned.

Marley was seen frequently on '70s and '80s TV, including "Kolchak: The Night Stalker," "Hawaii Five-O," "SCTV Network," "The Incredible Hulk" and "Hardcastle McCormick," and also played Moses in the TV biblical series Greatest Heroes of the Bible (1978). On film, he found work as a sheriff who becomes victim to the murderous title vehicle in The Car (1977); a doctor in The Paris Hat (1908)'s life's drama The Greatest (1977); a father figure producer to aging stuntman Burt Reynolds in Hooper (1978); a business partner to Jack Lemmon's talent agent in Tribute (1980), for which he won a Canadian "Genie" Award; a blackmailing journalist in the crime thriller The Amateur (1981); and an wilderness dweller in the adventure drama Mother Lode (1982). Marley's last film, the marathon sporting drama On the Edge (1985), was released posthumously.

John died on May 22, 1984, following open-heart surgery at age 76. He was survived by second wife, script supervisor Stanja Lowe and his four children, three of them by first wife, TV actress Sandra Marley.

Denver-born supporting actress Irene Tedrow is another in a long line of "I know the face...but not the name" character actors whose six-decade career was known more for its durability than for the greatness of roles she played. Born in 1907, she was a lady primarily of the stage, beginning her acting career as a teen. She trained in drama at Carnegie Tech in Pittsburgh, PA, graduating with a Bachelor of Arts degree in 1929. A slim, handsome woman in her early days, her features grew more severe with age, which ultimately typed her as puritanical meddlers and no-nonsense matrons practically from her entrance into film in 1937. She seldom, if ever, found a meaty part, appearing way, way down the list of credits, if at all. A founding member of the Old Globe Theatre, she was featured in such classical productions as "Richard III," "Hamlet" and "Henry IV, Part I." She became a primary player on radio during the war years, notably for the maternal role of Mrs. Janet Archer in the popular serial Meet Corliss Archer (1950), which she transferred to TV for one season. Her radio role lasted for nine years (43-52). Irene appeared in hundreds of episodic guest appearances for nearly 35 years in everything Dragnet (1951), The Andy Griffith Show (1960), and The Twilight Zone (1959) to the more recent The Facts of Life (1979), St. Elsewhere (1982) and L.A. Law (1986). Never a regular series player, she is probably best remembered as the kindly Mrs. Elkins who appeared occasionally on the Dennis the Menace (1959) sitcom. Over the years, Irene never abandoned the stage, gracing a number of shows in her senior years including "Our Town" on Broadway, plus "Foxfire," "The Hot L. Baltimore" and "Pygmalion." Continuing to work as an octogenarian, she died of a stroke at age 87 in the Los Angeles area.

The comic genius Jacques Tati was born Taticheff, descended from a noble Russian family. His grandfather, Count Dimitri, had been a general in the Imperial Army and had served as military attaché to the Russian Embassy in Paris. His father, Emmanuel Taticheff, was a well-to-do picture framer who conducted his business in the fashionable Rue de Castellane and had taken a Dutch-Italian woman, Marcelle Claire van Hoof, as his wife. To Emmanuel's lasting dismay, Jacques had no intention of following in the family trade of framing and restoration. Instead, he went on to pursue an education (specialising in arts and engineering) at the military academy of Lycée de Saint Germain-en-laye. After graduating, his main preoccupation became sports. He already boxed and played tennis and was introduced to rugby during a sojourn in London. Back in Paris, he joined the Racing Club de France (1925-30), and for some time seriously contemplated a career as a professional rugby player. However, Jacques also had an uncanny talent for pantomime, imitating athletes at his school to the amusement of classmates and teachers. By the time he had reached the age of 24, encouraged by his success as an entertainer in the annual revue of the Racing Club, he suddenly decided to combine his two passions and, without further ado, entered the world of show business.

From 1931, Jacques toured the Parisian music halls, theatres and circuses with his impersonations, acrobatics, drunk waiter and comic tennis routines (the latter would be famously re-enacted by his alter ego, Monsieur Hulot). He had by this time changed his name to 'Tati' in order to accommodate theatre bills.The French magazine "Le Jour" was among the first to acknowledge his growing popularity, describing Jacques as "a clown of great talent". At the same time, he made his screen debut in a series of short featurettes, tailored to show off his practised gags, notably Oscar, champion de tennis (1932) and Watch Your Left (1936) ("Watch your left", a very funny boxing sketch). The Second World War, military service and inherent strictures resulting from the German occupation put a temporary halt to his career. Then, in 1946, through a friend, the writer-director Claude Autant-Lara, Jacques obtained a small role in the whimsical fantasy Sylvie and the Ghost (1946), about a girl (Odette Joyeux) in love with a ghost (Tati).

The small township of Sainte-Sévère, where Tati had taken refuge during the occupation, served as inspiration for his first film, initially conceived as a one-reeler entitled "L'Ecole des facteurs" (School for Postmen). Unable to find widespread distribution, Tati decided to re-shoot the bucolic comedy --with himself in the central role -- as a feature film, using the villagers as extras and filming everything on location. And thus, The Big Day (1949) and Francois the village postman came into being. However, the film was soon overshadowed by his next enterprise and a critic of the satirical publication Le Canard Enchainé even proposed to fight a duel with anyone who would prefer "Jour de Fete" to Monsieur Hulot's Holiday (1953)!

With "Holiday", Tati reinvented the visual comedy of the silent era in a style not dissimilar to that of Max Linder. There is hardly any dialogue, except for background chatter, but natural and human noises are enhanced whenever required for the desired comic effect. The film is almost plotless, essentially comprised of a series of vignettes (to the recurring musical motif of Alain Romans's breezy 1952 composition "Quel temps fait-il à Paris?") at a seaside resort frequented by assorted holiday makers. All are stereotypical of their respective social class, as are the villagers themselves. Their inability to escape social conditioning and the stress they endure in the process of 'enjoying themselves' are observed with a keen satirical eye through their interaction with each other. At the centre is the ever-present character of the bumbling Monsieur Hulot, who arrives in a rickety 1924 Amilcar. Tall and reedy, clad in a poplin coat, wearing a crumpled hat, striped socks, trousers which are patently too short, rolled umbrella, a pipe firmly clenched between his teeth and perambulating with an odd stiff-legged gait, Hulot cuts an ungainly, yet hilarious figure. Well-meaning though he is, he invariably leaves disaster in his wake and departs the scene quickly as things go wrong, letting others sort out the mess. "Holiday" is more than just a brilliant collection of sight gags, but also an ironic observation of the foibles of human nature. Tati acknowledged the influence of both Buster Keaton and W.C. Fields in the creation of Hulot. Very much like Keaton or Charles Chaplin, he was also a consummate perfectionist who micro-managed each scene with unerring precision. Comedy for Tati was a serious business.

In Tati's subsequent ventures, Hulot became relegated from being the focus of the story to merely subordinate to its concept. As just one of many characters, Hulot weaves in and out of My Uncle (1958) and Playtime (1967), his simple, old-fashioned world contrasted sharply against the coldness of mechanisation, obsessive consumerism and the growing uniformity of houses and cities. "Playtime", shot in 70mm, took six years to make and required the creation of a massive glass and concrete high-rise set with myriad corridors and cubicles (dubbed 'Tativille' and built at a cost of $800,000) which raised the picture's total budget to $3 million and left Tati bankrupt. His next project, Traffic (1971), a satire of modern man's love of cars, failed to recoup these losses. Creditors impounded Tati's films, which were not re-released until 1977, when a canny Parisian distributor expunged his outstanding debts. Throughout his career, Tati remained obdurately committed to his artistic integrity and to his independence as a film maker. He was one of few directors who consistently employed non-professional actors. He turned down offers from Hollywood for a 15-minute series of television comedies, following the success of "Mon Oncle". He summed it all up by declaring "I could have satisfied the producers of the world by making a whole series of little Hulot films, and I would have made a lot of money. But I would not have been able to do what I like - work freely". (NY Times, November 6, 1982)

Philadelphia native Malcolm Atterbury was born into a wealthy family - his father was president of the Pennsylvania Railroad - but he himself had no desire to go into the family business. He had always wanted to be an actor, and to that end got himself a job managing a radio station. From there he went into vaudeville, then into stage work in both musicals and dramas, gaining a reputation as a solid and reliable stage actor. He made his film debut in Dragnet (1954). Although he soon became a busy supporting actor in films, he still kept his hand in the theater world; he owned two theaters in upstate New York. A versatile actor, he could play anything from a priest to a senator to a hotel clerk to a gunfighter to a cranky, cantankerous old codger. His last film was Emperor of the North (1973). He died in Beverly Hills of old age in 1992.

Canadian-born Fay Wray was brought up in Los Angeles and entered films at an early age. She was barely in her teens when she started working as an extra. She began her career as a heroine in westerns at Universal during the silent era. In 1926 the Western Association of Motion Picture Advertisers selected 13 young starlets it deemed most likely to succeed in pictures. Fay was chosen as one of these starlets, along with Janet Gaynor and Mary Astor. Fame would indeed come to Fay when she played another heroine in Erich von Stroheim's The Wedding March (1928). She continued playing leads in a number of films, such as the good-bad girl in Thunderbolt (1929). By the early 1930s she was at Paramount working with Gary Cooper and Jack Holt in a number of average films, such as Master of Men (1933). She also appeared in such horror films as Doctor X (1932) and The Vampire Bat (1933). In 1933 Fay was approached by producer Merian C. Cooper, who told her that he had a part for her in a picture in which she would be working with a tall, dark leading man. What he didn't tell her was that her "tall, dark leading man" was a giant gorilla, and the picture turned out to be the classic King Kong (1933). Perhaps no one in the history of pictures could scream more dramatically than Fay, and she really put on a show in "Kong". Her character provided a combination of sex appeal, vulnerability and lung capacity as she was stalked by the giant beast all the way to the top of the Empire State Building. That was as far as Fay would rise, however, as this was, after all, just another horror movie. After "Kong", she began a slow decline that put her into low-budget action films by the mid '30s. In 1939 her 11-year marriage to screenwriter John Monk Saunders ended in divorce, and her career was almost finished. In 1942 she remarried and retired from the screen, forever to be remembered as the "beauty who killed the beast" in "King Kong". However, in 1953 she made a comeback, playing mature character roles, and also appeared on television as Catherine, Natalie Wood's mother, in The Pride of the Family (1953). She continued to appear in films until 1958 and television into the 1960s.

Sheldon Leonard was born in New York City's lower Manhattan, the son of Jewish parents. He studied acting at Syracuse University and, after graduating, landed a job on Wall Street. Following the Wall Street crash of 1929, he found himself unemployed and resolved to become a professional actor on the stage. The road was hard, since it took him five years to first appear on Broadway in "Hotel Alimony" (1934). While this production was universally slammed by the critics, the next plays he appeared in, "Having Wonderful Time" (1937) and "Kiss the Boys Goodbye" (1938), were unqualified successes, the former running for 372 performances.

Movie offers followed, and from 1939 he became one of Hollywood's most recognizable screen tough guys, the names of his characters evocative of the roles he played: Pretty Willie in Tall, Dark and Handsome (1941), Slip Moran in Lucky Jordan (1942), Lippy Harris in Jinx Money (1948), Jumbo Schneider in Money from Home (1953) and, famously, Harry the Horse in Guys and Dolls (1955). There was also an assortment of minor henchmen and western heavies named Blackie or Lefty, and he was Nick, the sneering, humorless barkeeper who tosses James Stewart into the snow in It's a Wonderful Life (1946).

Having had his fill of acting in those kinds of parts, Leonard began a new career as a television producer in the 1950s and went on to become one of the most successful TV producer/directors of the 1950s and 1960s. Four of his productions (all on CBS)--The Danny Thomas Show (1953), Gomer Pyle: USMC (1964), The Dick Van Dyke Show (1961) (which won 21 Emmy Awards) and The Andy Griffith Show (1960)--were rated in the Top Ten. He had a further success with I Spy (1965), championing the cause of racial equality over the (initial) objections of the network by being the first series to have an African-American (Bill Cosby) in an equal co-starring dramatic role with a white actor. Leonard is also regarded as having invented the television spin-off.

This country singing-and-playing perennial earned the nickname of "Shug" early in life from his mother, who used to call him "sugar" as an infant. The native Oklahoman was born George Clinton Fisher in 1907, the son of a Scots-Irish father and part Choctaw mother. He learned how to play the mandolin, fiddle and guitar by the time he went on the road and later added comedy schtick to his traveling act. He finally took the plunge and headed west to California toiling in a series of side jobs (oil field cabler, tool dresser) before getting some work on radio. He joined various country groups, including the "Hollywood Hillbillies," in which he played bass fiddle, and the "Beverly Hill Billies." He finally found "gold up in them thar hills" saddling up with Roy Rogers in his western films and singing with the renown group "Sons of the Pioneers."

On various radio broadcasts with the group, Shug's talents soon included songwriting. Some of his songs included "Out on the Open Range" and "Ridin' Down to Santa Fe," tunes later recorded by such established stars as Merle Travis. Shug first joined the Sons of the Pioneers in 1943 as a bass player and comedian and appearing on their Lucky U Ranch radio program. He also performed with Stuart Hamblen's "Lucky Stars" and partnered on and off with singer/actor/comedian Pat Brady. Following his break with the Pioneers, he worked with pre-Festus actor Ken Curtis (of "Gunsmoke" fame) in movies and on TV and radio. He returned once more with the Sons of the Pioneers (1955-1959), then went on to appear with Red Foley's and his Ozark Jubilee TV show for a couple of years.

Shug continued on as various character types on TV and enjoyed a regular role with friend Curtis on the Ripcord (1961) adventure series. He also is remembered for his recurring role as Shorty Kellums on The Beverly Hillbillies (1962), and appeared in several films and TV episodes for Walt Disney in later years. He died in March 1984 after a lingering illness, with old friend Ken Curtis by his side.