1-50 of 90 names.

Meg Foster

Blue-eyed brunette Meg Foster was born in Reading, Pennsylvania on May 10, 1948 to David and Nancy. She has four siblings and grew up in Rowayton, Connecticut. Foster studied acting at New York's Neighborhood Playhouse.

Foster's first role came about in 1969, when she appeared in an episode of NET Playhouse. Throughout the '70s, she guest starred in numerous TV shows including Barnaby Jones, The Six Million Dollar Man, and Hawaii Five-O, and played Hester Prynne, a young woman who has an affair with a pastor, in the miniseries The Scarlet Letter. Foster did not really come to attention until 1982, though, when she replaced Loretta Swit as Christine Cagney in Cagney & Lacey; she herself was later replaced by Sharon Gless (CBS reportedly wanted a more "feminine" actress playing the role of the detective).

Foster began to appear in more movies throughout the late '80s, primarily Masters of the Universe, in which she played the nefarious Evil-Lyn. Other notable films include the satirical science fiction flick They Live, the horror sequel Stepfather II, and the comedic crime movie Blind Fury (Terry O'Quinn also appeared in the latter two).

Foster continued to work prolifically throughout the '90s, mostly appearing in science fiction films. She also guest starred in many popular television shows such as Quantum Leap, ER, Star Trek: Deep Space Nine, Murder, She Wrote, and Sliders.

After appearing in a 2000 episode of Xena: Warrior Princess, Foster took a decade-long break from the acting industry. She returned in 2011 with roles in indie flicks 25 Hill and Sebastian, and had a villainous role as a revenge-seeking witch in Rob Zombie's '70s-esque horror movie The Lords of Salem. Additionally, Foster appeared in the TV show The Originals, as well as Pretty Little Liars and its short-lived spin-off Ravenswood. She re-teamed with Rob Zombie in 2016 for his horror film 31, in which Foster plays a kidnapped carnival worker.

Foster has a son, Christopher, with Ron Starr. At one point, she was married to actor Stephen McHattie.

Loretta Swit

Equally versatile at comedy and drama, Loretta Swit's parents, Polish immigrants who settled in Passaic, New Jersey, were not in favor of her making a stab at a show business career. Performing on stage from age 7, however, nothing and nobody could deter her. A natural singer who trained at the American Academy of Dramatic Arts before finding work in repertory companies, her features were deemed a bit too plain and hard for ingénue roles so she attempted musicals and light comedy, imbuing her characters with a snappy, comic edge. Beginning with the 1967 national touring company of "Any Wednesday", starring Gardner McKay, she forged ahead as a scene-stealing "Pigeon sister" opposite Don Rickles and Ernest Borgnine in an L.A. run of "The Odd Couple" and, from there, earned more laughs as the hopelessly awkward "Agnes Gooch" in the Las Vegas version of "Mame" starring Susan Hayward and (later) Celeste Holm.

Arriving in Hollywood in 1970, Loretta merited some attention by lightening up a number of dramas with her humorous, off-centered performances on such TV fare as Gunsmoke, Mission: Impossible, Hawaii Five-O and Mannix. Her star-making role, however, came within two years of moving to the West Coast when she inherited Sally Kellerman's vitriolic "Hot Lips" Houlihan movie character for the TV series version of M*A*S*H. She stayed with the show the entire eleven seasons and was Emmy-nominated every season the show was on the air (except the first).

Although Loretta's post-"M*A*S*H" career may appear less noteworthy (it would be hard to imagine anything that could top her bookend Emmy wins on the M*A*S*H series), she has nonetheless remained quite active and provided colorful support in a handful of films including S.O.B., Beer, Whoops Apocalypse, Forest Warrior and Beach Movie. She also kept up her TV visibility with episodic appearances and occasional mini-movies, including originating the role of "Chris Cagney" in the TV pilot of Pilot. Returning to singing on occasion, she also inherited the Linda Lavin role in the TV version of the stage musical It's a Bird... It's a Plane... It's Superman!.

On stage, she made her Broadway debut opposite That Girl's Ted Bessell in "Same Time, Next Year" in 1975 and later replaced Cleo Laine on Broadway in "The Mystery of Edwin Drood". Honored with the Sarah Siddons award for her title role in "Shirley Valentine" (over 1,000 performances) in Chicago, she has more recently toured in productions of "The Vagina Monologues" and played the musical title role of "Mame" in 2003. Loretta also was a five-season host of the 1992 cable-TV wildlife series "Those Incredible Animals" (1992).

Off-stage, Loretta was once married to actor Dennis Holahan, whom she met on the set of M*A*S*H, in 1983. They had no children and divorced in 1995. Her natural spark and trademark blonde, curly mane are more prevalent these days at animal activist fundraisers. A strict vegetarian, she has served as a spokesperson for the Humane Society of the United States and has been multi-honored for her long-time dedication and passion to animals. She is also the author of a book on needlepoint (A Needlepoint Scrapbook), runs her own line of jewelry and exhibits watercolor paintings. As a result, little has been seen of Loretta on film and TV, into the millennium.

Dorothy Malone

The blonde, sultry, dreamy-eyed beauty of Dorothy Malone, who was born in Chicago, Illinois, took some time before it made an impact with American film-going audiences. But once she did, she played it for all it was worth in her one chance Academy Award-winning "bad girl" performance, a role quite unlike the classy and strait-laced lady herself.

Dorothy Eloise Maloney was raised in Dallas, Texas, where her heart and soul remains. She was one of five children born to an accountant father. Two older sisters died of polio. Attending Ursuline Convent and Highland Park High School, she was quite popular (as "School Favorite"). She was also a noted female athlete while there and won several awards for swimming and horseback riding. Following graduation, she studied at Southern Methodist University with the intent of becoming a nurse, but a role in the college play "Starbound" happened to catch the eye of an RKO talent scout and she was offered a Hollywood contract.

The lovely brunette started off in typical RKO starlet mode with acting/singing/dancing/diction lessons and bit parts (billed as Dorothy Maloney) in such films as the Frank Sinatra musicals Higher and Higher and Step Lively, a couple of the mystery "Falcon" entries and a showier role in Show Business with Eddie Cantor and George Murphy. RKO lost interest, however, after the two-year contract was up. Warner Bros., however, stepped up to the plate and offered the actress a contract. Now billed as Dorothy Malone, her third film offering with the studio finally injected some adrenaline into her floundering young career when she earned the small role of a seductive book clerk in the Bogart/Bacall classic The Big Sleep. Critics and audiences took notice of her captivating little part. As reward, the studio nudged her up the billing ladder with more visible roles in Two Guys from Texas, Romance on the High Seas, South of St. Louis and Colorado Territory (1949)_ with the westerns showing off her equestrian prowess if not her acting ability.

Despite this positive movement, Warner Bros. did not extend Dorothy's contract in 1949 and she returned willingly back to her tightly-knit family in Dallas. Taking a steadier job with an insurance agency, she happened to attend a work-related convention in New York City and grew fascinated with the big city. Deciding to recommit to her acting career, she moved to the Big Apple and studied American Theater Wing. In between her studies she managed to find work on TV, which spurred freelancing "B" movie offers in the routine form of Saddle Legion, The Bushwhackers, the Martin & Lewis romp Scared Stiff, Law and Order Jack Slade, Pushover and Private Hell 36.

Things picked up noticeably once Dorothy went platinum blonde which seemed to emphasize her overt and sensual beauty. First off as a sister to Doris Day in Young at Heart, a musical remake of Four Daughters, back at Warner Bros. She garnered even better attention when she appeared in the war pic Battle Cry, in which she shared torrid love scenes with film's newest heartthrob Tab Hunter, and continued the momentum with the reliable westerns Five Guns West and Tall Man Riding but not with melodramatic romantic dud Sincerely Yours which tried to sell to the audiences a heterosexual Liberace.

By this time Dorothy had signed with Universal. Following a few more westerns for good measure (At Gunpoint, Tension at Table Rock and Pillars of the Sky, Dorothy won the scenery-chewing role of wild, nymphomaniac Marylee Hadley in the Douglas Sirk soap opera Written on the Wind co-starring Rock Hudson, Lauren Bacall and Robert Stack. Both Stack and Malone had the showier roles and completely out-shined the two leads, earning supporting Oscar nominations in the process. Stack lost in his category but Dorothy nabbed the trophy for her splendidly tramp, boozed-up Southern belle which was highlighted by her writhing mambo dance.

Unfortunately, Dorothy's long spell of mediocre filming did not end with all the hoopla she received for Written on the Wind. The Tarnished Angels, which reunited Malone with Hudson and Stack faltered, and Quantez with Fred MacMurray was just another run-of-the-mill western. Two major film challenges might have changed things with Man of a Thousand Facesas the unsympathetic first wife of James Cagney's Lon Chaney Sr, and as alcoholic actress Diana Barrymore in the biographic melodrama Too Much, Too Soon. Diana Barrymore. Cagney, however, overshadowed everyone in the first and the second was fatally watered down by the Production Code committee.

To compensate, Dorothy, at age 35, finally married -- to playboy actor Jacques Bergerac, Ginger Rogers' ex-husband, in 1959. A baby daughter, Mimi, was born the following year. Fewer film offers, which included Warlock and The Last Voyage, came her way as Dorothy focused more on family life. While a second daughter, Diane, was born in 1962, Dorothy and Jacques' turbulent marriage wouldn't lasted and the divorce became final in December of 1964. A bitter custody battle ensued with Dorothy eventually winning primary custody.

It took the small screen to rejuvenate Dorothy's career in the mid-1960s when she earned top billing of TV's first prime time soap opera Peyton Place. Dorothy, starring in Lana Turner's 1957 film role of Constance MacKenzie, found herself in a smash hit. The run wasn't entirely happy however. Doctors discovered blood clots on her lungs which required major surgery and she almost died. Lola Albright filled in until she was able to return. Just as bad, her the significance of her role dwindled with time and 20th Century-Fox finally wrote her and co-star Tim O'Connor off the show in 1968. Dorothy filed a breach of contract lawsuit which ended in an out-of-court settlement.

Her life on- and off-camera did not improve. Dorothy's second marriage to stockbroker Robert Tomarkin in 1969 would last only three months, and a third to businessman Charles Huston Bell managed about three years. Now-matronly roles in the films Winter Kills, Vortex, The Being and Rest in Pieces, were few and far between a few TV-movies -- which included some "Peyton Place" revivals, did nothing to advance her.

A weary Dorothy returned and settled for good back in Dallas, returning to Hollywood only on occasion. Her last film was a cameo in the popular thriller Basic Instinct as a friend to Sharon Stone. She will be remembered as one of those Hollywood stars who proved she had the talent but somehow got the short end of the stick when it came to quality films offered.

Audie Murphy

Audie Murphy became a national hero during World War II as the most decorated combat soldier of the war. Among his 33 awards was the Medal of Honor, the highest award for bravery that a soldier can receive. In addition, he was also decorated for bravery by the governments of France and Belgium, and was credited with killing over 240 German soldiers and wounding and capturing many more.

Audie Leon Murphy was born in Kingston, Hunt County, Texas, to Josie Bell (Killian) and Emmett Berry Murphy, poor sharecroppers of Irish descent. After the death of his mother and the outbreak of WWII, Murphy enlisted in the army in June 1942 after being turned down by the Navy and the Marines. Being underage at the time, his older sister and designated legal guardian, Corrine, provided him a letter of consent. After undergoing basic military training, he was sent first to North Africa. But the Allies drove the German army from Tunisia, their last foothold in North Africa, before Murphy's unit could be sent into battle. His first engagement with Axis forces came when his unit was sent to Europe. First landing on the island of Sicily, next mainland Italy, and finally France, he fought in seven major campaigns over three years and rose from the rank of private to a battlefield commission as a second lieutenant.

Part of Murphy's appeal to many people was that he didn't fit the "image" most had of a war hero. He was a slight, almost fragile-looking, shy and soft-spoken young man, whose boyish appearance (something he never lost throughout his life; he always looked at least 15 years younger than he actually was) often shocked people when they found out that, for example, during one battle he leaped on top of a burning tank--which was loaded with fuel and ammunition and could have exploded at any second--and used its machine gun to hold off waves of attacking German troops, killing dozens of them and saving his own unit from certain destruction and the entire line from being overrun. In September 1945 Murphy was released from active duty, promoted to 1st Lieutenant, and assigned to inactive status. His story caught the interest of superstar James Cagney, who invited Murphy to Hollywood.

Cagney Productions paid for acting and dancing lessons but was reluctantly forced to admit that Murphy--at least at that point in his career--didn't have what it took to become a movie star. For the next several years he struggled to make it as an actor, but jobs were few, specifically just two bit parts, in Beyond Glory and Texas, Brooklyn & Heaven. He finally got a lead role in Bad Boy, and starred in the trouble-plagued production of MGM's The Red Badge of Courage, directed by John Huston. While this film is now considered a minor classic, the politics behind the production sparked an irreparable fissure within the ranks of the studio's upper management.

Murphy proved adequate as an actor, but the film, with virtually no female presence (or appeal), bombed badly at the box office. Murphy, however, had already signed with Universal-International Pictures, which was putting him in a string of modestly budgeted Westerns, a genre that suited his easygoing image and Texas drawl. He starred in the film version of his autobiography, To Hell and Back, which was a huge hit, setting a box-office record for Universal that wasn't broken for 20 years until it was finally surpassed by Jaws). One of his better pictures was Night Passage, a Western in which he played the kid brother of James Stewart. He worked for Huston again on The Unforgiven.

Meanwhile, the studio system that Murphy grew into as an actor crumbled. Universal's new owners, MCA, dumped its "International" tag in 1962 and turned the studio's focus toward the more lucrative television industry. For theatrical productions, it dropped its roster of contract players and hired actors on a per-picture basis only. That cheap Westerns on the big screen were becoming a thing of the past bode no good for Murphy, either. The Texican, his lone attempt at a new, European form of inexpensive horse opera, to become known as "the Spaghetti Western", was unsuccessful. His star was falling fast.

In addition to his acting career -- he made a total of 44 films -- Murphy was a rancher and businessman. He bred and raised thoroughbred horses and owned several ranches in Texas, Arizona and California. He was also a songwriter, and penned hits for such singers as Dean Martin, Eddy Arnold, Charley Pride and many others.

His postwar life wasn't all roses, however. He suffered from what is now called Post-Traumatic Stress Disorder (PTSD) but was then called "combat fatigue", and was known to have a hair-trigger temper. He woke up screaming at night and slept with a loaded M1911 .45 semi-automatic pistol nearby. He was acquitted of attempted murder charges brought about by injuries he inflicted on a man in a bar fight. Director Don Siegel said in an interview that Murphy often carried a pistol on the set of The Gun Runners and many of the cast and crew were afraid of him.

He had a short-lived and turbulent marriage to actress Wanda Hendrix, and in the 1960s his increasing bouts of insomnia and depression resulted in his becoming addicted to a particularly powerful sleeping pill called Placidyl, an addiction he eventually broke. He ran into a streak of bad financial luck and was forced to declare bankruptcy in 1968. Admirably, he campaigned vigorously for the government to spend more time and money on taking care of returning Vietnam War veterans, as he more than most others knew exactly what kinds of problems they were going to have.

On May 18, 1971, Murphy was aboard a private plane on his way to a business meeting when it ran into thick fog in Craig County, Virginia, near Roanoke, and crashed into the side of a mountain, killing all six aboard. He was buried with full military honors in Arlington National Cemetery. According to cemetery records, the only grave site visited by more people than Murphy's is that of assassinated President John F. Kennedy.

James Cagney

One of Hollywood's preeminent male stars of all time (eclipsed, perhaps, only by "King" Clark Gable and arguably by Gary Cooper or Spencer Tracy), and the cinema's quintessential "tough guy", James Cagney was also an accomplished--if rather stiff--hoofer and easily played light comedy. James Francis Cagney was born on the Lower East Side of Manhattan in New York City, to Carolyn (Nelson) and James Francis Cagney, Sr., who was a bartender and amateur boxer. Cagney was of Norwegian (from his maternal grandfather) and Irish descent. Ending three decades on the screen, he retired to his farm in Stanfordville, New York (some 77 miles/124 km. north of his New York City birthplace), after starring in Billy Wilder's One, Two, Three. He emerged from retirement to star in the 1981 screen adaptation of E.L. Doctorow's novel "Ragtime" (Ragtime), in which he was reunited with his frequent co-star of the 1930s, Pat O'Brien, and which was his last theatrical film and O'Brien's as well). Cagney's final performance came in the title role of the made-for-TV movie Terrible Joe Moran, in which he played opposite Art Carney.

Joan Blondell

With blonde hair, big blue eyes and a big smile, Joan was usually cast as the wisecracking working girl who was the lead's best friend. Born into vaudeville to a comic named Eddie, Joan was on the stage when she was three years old. For years, she toured the circuit with her parents and joined a stock company when she was 17. She made her New York debut with the Ziegfeld Follies and appeared in several Broadway productions. She was starring with James Cagney on Broadway in "Penny Arcade" (1929) when Warner Brothers decided to film the play as Sinners' Holiday. Both Cagney and Joan were given the leads, and the film was a success. She would be teamed with Cagney again in The Public Enemy and Blonde Crazy among others. In The Office Wife, she stole the scene when she was dressing for work. While Warner Brothers made Cagney a star, Joan never rose to that level. In gangster movies or musicals, her performances were good enough for second leads, but not first lead. In the 1930s, she made a career playing gold-diggers and happy-go-lucky girlfriends. She would be paired with Dick Powell in ten musicals during these years, and they were married for ten years. By 1939, Joan had left Warner Brothers to become an independent actress, but by then, the blonde role was being defined by actresses like Veronica Lake. Her work slowed greatly as she went into straight comedy or dramatic roles. Three of her better roles were in Topper Returns, Cry 'Havoc', and A Tree Grows in Brooklyn. By the 50s, Joan would garner an Academy Award nomination for The Blue Veil, but her biggest career successes would be on the stage, including a musical version of "A Tree Grows in Brooklyn." In 1957, Joan would again appear on the screen as a drunk in Lizzie and as mature companion to Jayne Mansfield in Will Success Spoil Rock Hunter?. While she would appear in a number of television shows during the 50s and 60s, she had the regular role of Winifred on The Real McCoys during the 1963 season. Her role in the drama The Cincinnati Kid was well received, but most of her remaining films would be comedies such as Waterhole #3 and Support Your Local Gunfighter. Still in demand for TV, she was cast as Lottie on Here Come the Brides and as Peggy on Banyon.

Sharon Gless

Show business is in Sharon Gless' blood. Her grandfather, Neil Steere McCarthy (May 6, 1888 - July 25, 1972), was considered by many to have been the most respected and powerful entertainment lawyer of Hollywood's Golden Age. His clients included Howard Hughes, Paramount Pictures, Louis B. Mayer (personally), Betsey Maria Cushing Roosevelt, and Cecil B. DeMille. The famous McCarthy Chopped Salad, at the legendary Polo Lounge, was named after him. He also drew up the first contract between a studio and a player - a fact that is of special interest to Gless, as she has the distinction of being the last contract player in the history of Hollywood. She was under exclusive contract to Universal Studios, where she learned and flourished for 10 years, leaving "The Lot" in 1982.

Gless co-stared in USA Network's hit series, Burn Notice (2007-2013), which finished its seventh and last season on September 12, 2013. In the Miami-based series, she portrayed "Madeline Westen," the chain-smoking, hypochondriac mother of, the spy in the titular burn notice, Michael Westen, portrayed by Jeffrey Donovan.

In late 2008, she completed production on two films: Once Fallen, with Ed Harris, Amy Madigan, and Peter Weller released to theaters; and Hannah Free, an independent film released mostly for the video and streaming market, in which Gless stars as "Hannah," a free-spirited older lesbian, who's attempting to reunite one last time with the love of her life, a woman who took a traditional path, which included marriage, yet who is now living out her final days in a nursing home.

Gless received her most recent Emmy Award nomination in 2008 for her multiple-episode arc role in the hit FX series, Nip/Tuck as "Colleen Rose," an ambitious Hollywood agent with dark secrets. In 2006, she received rave reviews, both in the US and UK, for her starring role as "US Secretary of Defense Lynne Warner" in the BBC/BBC America miniseries, The State Within.

Gless is in pre-production on "A Round Heeled Woman", a new play based on the best-selling book by Jane Juska, about a 60+ year-old woman's adventures in later-life sex and romance. Gless will both produce and star in the production.

In April 2007, Gless was the recipient of The Theatre School at DePaul University's prestigious Award for Excellence in the Arts. In 2007, she also celebrated the Silver Anniversary of Cagney & Lacey, the first season of which was released on DVD in the spring. Gless continues to work non-stop in the business she dearly loves.

Beginning with her starring role in Faraday and Company in 1973, Sharon Gless has brought her own brand of humor, intelligence and dramatic flair to each of her roles. She is best-known for her portrayal of New York police detective, "Christine Cagney", on the hit series, Cagney & Lacey, a role that garnered her two Emmys®, a Golden Globe®, and six Emmy® nominations. Following "Cagney & Lacey", Gless re-teamed with the show's executive producer, Barney Rosenzweig, on The Trials of Rosie O'Neill, for which she was awarded her second Golden Globe® and two more Emmy® nominations. Gless married Rosenzweig in 1991.

In 1994 and 1995, Gless and her television partner, Tyne Daly, joined together to recreate their title roles in a quartet of critically-acclaimed and popular "Cagney & Lacey" television movies, which they fondly call "The Menopause Years". Other television series in which she starred include Switch, House Calls and the short-lived but critically-lauded Steven Bochco half-hour, Turnabout. Gless has received much acclaim for her dramatic roles in such television movies as Separated by Murder, Hardhat and Legs, Honor Thy Mother, Hobson's Choice, and Letting Go, among others, as well as mini-series, The Immigrants, The Last Convertible, Centennial and Garson Kanin's Moviola: The Scarlett O'Hara War, in which she portrayed screen goddess Carole Lombard.

In 2000, Gless created the role of the outrageous and beloved "Debbie Novotny" in the groundbreaking Showtime series, Queer as Folk and remained with the series throughout its five-season run. Wherever she goes, Gless is regularly approached by fans wishing to express their appreciation for her honest portrayal of a loving parent of a gay child.

Gless' theatrical film credits include the suspenseful and provocative film, The Star Chamber, in which she portrayed the wife of Michael Douglas. She has recorded several "Books on Tape" and has starred in numerous radio plays, one of which, "'Night, Mother," for the BBC, earned Gless the International Sony Award. She continues to do radio plays for L.A. Theater Works and the BBC.

She has starred twice on stage in London's famed West End, the first time in 1993 with Bill Paterson, when she created the role of "Annie Wilkes" in the stage version of Stephen King's "Misery" at the Criterion Theater and, four years later, opposite Tom Conti, in Neil Simon's "Chapter Two" at the Gielgud Theater. She starred at Chicago's Tony Award-winning playhouse, The Victory Gardens Theater, in Claudia Allen's "Cahoots", and at Madison Square Garden with the National Company of Eve Ensler's "The Vagina Monologues". Gless made her stage debut in Lillian Hellman's "Watch on the Rhine" at Stage West in Springfield, Massachussets.

Gless is an active participant in the ongoing struggle for a woman's right to choose, and joined hundreds of thousands of women in Washington D.C. for the first-ever "March For Women's Lives", where she stood in solidarity with her entertainment industry colleagues. In 2005, she was honored by Norman Lear's "People for the American Way" for her unwavering support of human rights. Gless spends her time at home in three of her favorite cities: Los Angeles, Miami (where "Burn Notice" was filmed), and Toronto (where "Queer as Folk" was filmed).

Virginia Mayo

Virginia Clara Jones was born on November 30, 1920 in St. Louis, Missouri, the daughter of a newspaper reporter and his wife. The family had a rich heritage in the St. Louis area: her great-great-great-grandfather served in the American Revolution and later founded the city of East Saint Louis, Illinois, located right across the Mississippi River from its namesake. Virginia was interested in show business from an early age. Her aunt operated a dance studio and Virginia began taking lessons at the age of six. After graduating from high school in 1937, she became a member of the St. Louis Municipal Opera before she was signed to a contract by Samuel Goldwyn after being spotted by an MGM talent scout during a Broadway revue. David O. Selznick gave her a screen test, but decided she wouldn't fit into films. Goldwyn, however, believed that her talent as an actress was there and cast her in a small role in 1943's Jack London. She later had a walk-on part in Follies Girl that same year. Believing there was more to her than her obvious ravishing beauty, producers thought it was time to give her bigger and better roles. In 1944 she was cast as Princess Margaret in The Princess and the Pirate, with Bob Hope and a year later appeared as Ellen Shavley in Wonder Man. Her popularity increasing with every appearance, Virginia was cast in two more films in 1946, The Kid from Brooklyn, with Danny Kaye, and The Best Years of Our Lives, with Dana Andrews, and received good notices as Andrews' avaricious, unfaithful wife. Her roles may have been coming in slow, but with each one her popularity with audiences rose. She finally struck paydirt in 1947 with a plum assignment in the well-received The Secret Life of Walter Mitty as Rosalind van Hoorn. That same year she married Michael O'Shea and would remain with him until his death in 1973 (the union produced a daughter, Mary Catherine, in 1953). She got some of the best reviews of her career in James Cagney's return to the gangster genre, White Heat, as Verna, the scheming, cheating wife of homicidal killer Cody Jarrett (Cagney). The striking beauty had still more plum roles in the 1950s. Parts in Backfire, She's Working Her Way Through College and South Sea Woman all showed she was still a force to be reckoned with. As the decade ended, Virginia's career began to slow down. She had four roles in the 1960s and four more in the following decade. Her last role was as Janet Wilson in 1990's Evil Spirits. She died on January 17, 2005.

Carl Lumbly

From stage to screen, Carl Lumbly is an actor respected for his steadfast talent, versatility and class. His prolific career includes over 50 credits in television, film and the theatre and extensive critical acclaim.

He portrayed CIA agent 'Marcus Dixon,' the gentle, mild-mannered field partner to agent 'Sydney Bristow' (Jennifer Garner) for five seasons on ABC's hit drama series, "Alias.

Lumbly has been cast in a recurring role in Dick Wolf's new drama series, "Chicago Med." Lumbly plays 'Bert Goodwin,' the husband of S. Epatha Merkerson's character 'Sharon,' the venerable head of Chicago Med Hospital. 'Bert' is a once virile robust man who suddenly comes down with a physical ailment that ultimately factors into his relationship with his wife and the hospital where she presides.

He has a recurring role in CBS' summer drama series "Zoo," which has been renewed for a second season. Based on the best-selling novel by James Patterson, "Zoo" is a global thriller about a wave of violent animal attacks against humans which is sweeping the planet. Lumbly plays 'Delavenne,' an enigmatic, veteran Interpol agent embedded within the hierarchy of the General Secretariat, who takes matters into his own hands, when faced with what he believes to be a global animal crisis.

He recently appeared in the ensemble cast of A&E's suspense series "The Returned." The show focused on a small town that is turned upside down when several local people, who have long been presumed dead, suddenly reappear, bringing them into positive and detrimental consequences. Lumbly played 'Pastor Leon Wright,' a kindly, perceptive minister.

Lumbly has wrapped production in Berlin on a role in director Gore Verbinski's upcoming supernatural horror feature, "The Cure for Wellness," which will be distributed worldwide through New Regency's deal with 20th Century Fox.

His extensive feature credits include a role opposite Robert De Niro and Cuba Gooding Jr. in "Men of Honor," portraying the father of the first black diver in U.S. Navy history. In "Everybody's All-American" with Jessica Lange and Dennis Quaid, he starred as a former football player affected by the segregated South. Other film credits include "How Stella Got Her Groove Back," "South Central," "Pacific Heights," "To Sleep With Anger," "The Bedroom Window," "The Adventures of Buckaroo Banzai," "Caveman" and "Namibia: The Struggle for Liberation."

For the stage, Lumbly most recently received glowing reviews for his 2015 performance of 'Pops Washington' in "Between Riverside and Crazy" at the American Conservatory Theater (ACT) in San Francisco. States the Huffington Post, "Pops is portrayed with torrents of fury and flashes of gentleness by the marvelous Carl Lumbly. He is one of seven characters in Stephen Adly Guirgis's play, which won this year's Pulitzer Prize for drama, but he provides the fuel that energizes all."

Earlier in 2015, Lumbly starred as 'Alfred' in Kwame Kwei-Armah's "Let There Be Love" at ACT and as 'Leo Price' in the San Francisco Playhouse's premiere of "Tree," by Julie Hebert. In 2014, he starred as 'Chester Kimmich' in John Patrick Shanley's "Storefront Church" at the San Francisco Playhouse and as 'Troy' in August Wilson's "Fences" at the Marin Theatre Company.

In 2013, Lumbly starred Off-Broadway at Romulus Linney Courtyard Theatre in the Pershing Square Signature Center in "stop. reset," directed by Regina Taylor. "stop. reset." tells the story of 'Alex Ames' (Lumbly), the owner of Chicago's oldest African-American book publishing company. As e-books begin to outsell printed copies, 'Ames' must question his employees to determine who is still relevant in a rapidly changing world.

Also in 2013, Lumbly starred in the San Francisco Playhouse's West Coast Premiere of the raucous comedy, "The Motherf**ker with the Hat," directed by Bill English. He played drug and parole counselor 'Ralph D.,' the role Chris Rock played on Broadway in 2011.

He starred in the Lorraine Hansberry Theatre's (LHT) 2012 production of British playwright Joe Penhall's comedy drama "Blue/Orange" in San Francisco. He portrayed an enigmatic psychiatric patient who claimed to be the son of an African dictator - a story that becomes more and more unnervingly plausible as the play progresses.

He was featured in the San Francisco Playhouse's 2010 production of Cormac McCarthy's "Sunset Limited." In 2007, he starred in the SF Playhouse's production of "Jesus Hopped the 'A' Train," directed by Bill English. For his remarkable performance, he was honored with a San Francisco Bay Area Theatre Critics Circle Award for Best Performance by an Actor.

Lumbly was born in Minnesota, the son of Jamaican immigrants. His father was an avid reader, which inspired Lumbly's early appreciation for literature. After graduating from Macalester College with a degree in English, he landed a job writing for the Associated Press in Minneapolis. He also supplemented his income by doing freelance writing assignments for various periodicals and magazines.

While on assignment for a story on Dudley Rigg's Brave New Workshop Comedy Theatre, Lumbly attended a public audition and was handed an audition card. "I thought it would be a great perspective from which to write the story," he says. After a three-week audition process, the company offered Lumbly a coveted spot in its cast. He stayed for two years doing improvisational comedy flavored with political satire.

Lumbly moved to San Francisco intending to continue his work as a journalist for the Associated Press. Just two days after arriving, he came across a newspaper ad seeking "two black actors for South African political plays." He went to the audition and met the other actor already cast -- an unknown Danny Glover. He landed the part and toured with Glover in productions of Athol Fugard's "Sizwe Bansi is Dead" and "The Island."

The plays brought Lumbly to Los Angeles, where he signed with an agent, followed by a move to New York. He landed his first significant on-screen role in a movie-of-the-week, "Cagney and Lacey," which turned into the hit series. Lumbly starred as 'Detective Mark Petrie' for the show's seven-year run.

Lumbly's versatility spans a range of characters, from his NAACP Image Award-nominated work in TNT's "Buffalo Soldiers," produced by Danny Glover, to a wealthy, black entrepreneur in "Oprah Winfrey Presents: The Wedding," starring opposite Halle Berry. He starred in the Showtime telefilm "Just a Dream," directed by Danny Glover, about a 12-year-old doctor's son and his unlikely relationship with a rodeo cowboy/auto mechanic (Lumbly). In addition, he has starred in the telefilms "Color of Friendship" (directed by Kevin Hooks), "Little Richard," "On Promised Land," "The Ditchdigger's Daughters," "Nightjohn" and "Sounder," ABC's telefilm remake of the 1972 classic. Of his critically-acclaimed performance in "Sounder," the Houston Chronicle stated, "Carl Lumbly plays 'Father', and his performance is a stunner: Dignity and anguish come together to touch your heart." According to director Kevin Hooks (one of the stars of the original film), Lumbly is "one of the most underrated actors out there." Hooks also believes that Lumbly is "the epitome of sensitivity and compassion as an artist, and it spills over into the characters he's playing."

He also starred in the drama series "M.A.N.T.I.S," where he played an independently wealthy paraplegic scientist/crimefighter, marking the first black superhero on series television. In 2012, he had a recurring role on the TNT cop drama, "Southland," where he played old-school, no-nonsense LAPD Captain 'Joel Rucker.' He has made numerous guest-starring appearances on such popular television series as "NCIS," "Criminal Minds," "Chuck," "Grey's Anatomy," "Cold Case," "Battlestar Galactica," "The West Wing," "ER" and "The X-Files."

Lumbly also starred as the voice of action hero 'J'onn J'onzz/Martian Manhunter,' in the Cartoon Network's animated series "Justice League." The series followed the adventures of the greatest superhero team of all time.

Lumbly works out regularly to keep in shape for his demanding roles. In his free time, he enjoys writing, as well as working in his garden, running, playing basketball and doggedly lowering his handicap in golf.

Roger Smith

Debonair, exceedingly handsome Roger Smith was born in South Gate, California to Dallas and Leone Smith on December 18, 1932. At age 6, his parents enrolled him at a professional school for singing, elocution and dancing lessons. By age 12, the family moved to Nogales, Arizona, a small town on the Mexican border where he appeared in high school theater productions, was made president of the school's acting club and became a star linebacker for his high school football team. While studying at the University of Arizona in Tucson, Roger entered and won several amateur talent prizes as a singer and guitarist which led to a TV appearance with Ted Mack and his Ted Mack & the Original Amateur Hour program. While stationed in Hawaii at a Naval Reserve, Roger had a chance meeting with film legend James Cagney. Cagney, impressed with the boy's clean-cut good looks and appeal, encouraged Roger to give Hollywood a try. Roger did so and it didn't take long for Columbia Pictures to snap him up 1957. While there, he made such films as No Time to Be Young, Operation Mad Ball and Crash Landing. He also played the older "Patrick Dennis" role in the madcap Rosalind Russell farce Auntie Mame. Roger reconnected with Cagney around this time who not only hired him to play his son, "Lon Jr.", in the Lon Chaney biopic Man of a Thousand Faces, but made him his co-star in the musical comedy-drama Never Steal Anything Small. Moving to Warner Bros., Roger won the role of private detective "Jeff Spencer" in the hip TV series 77 Sunset Strip. After a few years of steady employment, doctors discovered a blood clot in his brain, which forced him to leave the show. Wed to budding actress Victoria Shaw in 1956, they had three children, but the marriage crumbled in the mid-60s. He next met singer-actress Ann-Margret and they eventually married in 1967. Roger's health continued to decline after a co-starring role on the TV series Mister Roberts and, when he was diagnosed with myasthenia gravis, a muscle/nerve disorder, retired from acting, altogether. He stayed in the background and focused instead on managing and nurturing his wife's career. In the 1970s, he proved instrumental in her successful comeback in Vegas (he produced her stage shows), TV and films while she battled personal tragedy and injuries. A devoted couple married for nearly 50 years, Roger's health began to stabilize in the mid-1980s.

Lloyd Nolan

It would no doubt be a real shock to most people to discover that the rich baritone Bronx-like accent of great veteran character actor Lloyd Nolan was a product of the San Francisco streets--not the urban jungle of New York City. Nolan was born in the City by the Bay, and his father, James Nolan, was a successful shoe manufacturer of hard-working Irish stock. Lloyd caught the acting bug while at Santa Clara College (at the time, a junior college). He gained as much theatre experience as he could, attaining his AA in the process. Though he continued on to Stanford, he was still focused on acting and soon flunked out of that school, preferring to focus his attention on acting opportunities rather than studies. Forsaking his father and the family shoe business, Nolan went to sea on a freighter, which soon burned, and then headed south to Hollywood.

He continued to hone his acting skills by first taking up residence at the Pasadena Playhouse (1927). With his father's passing he was able to sustain himself on a small inheritance. Continuing at PP and elsewhere in stock for two years, he headed east to Broadway, where he landed a role in a musical revue, "Cape Cod Follies", in late 1929. He continued with two other similar roles through 1932 before breaking out with an acclaimed performance as less-than-wholesome small-town dentist Biff Grimes in the original hit play "One Sunday Afternoon" (1933). He would stay on for two more plays until mid-1934, when he headed back to Hollywood with heightened expectations of success in the movies. His voice and that rock-solid but somehow sympathetic face made Nolan someone with whom audiences could immediately identify, and ahead were over 150 screen appearances. Nolan didn't waste any time; he signed with Paramount and had five roles in 1935, getting the lead role in two and working with up-and-coming James Cagney and George Raft. In the next five years Nolan settled into his niche as a solid and versatile player in whatever he did. His genre was more "B", and he could play good guys and heavies with equal skill. The production values on some B-level efforts were every bit as good as those of "A" pictures. Everybody starting out did at least a few "B" pictures, and Nolan was doing quality work, even in pictures that are little-known--if known at all--today, pictures like King of Gamblers with Claire Trevor and King of Alcatraz. He was a mainstay at Paramount until 1940, competing with Warner Brothers in that studio's popular gangster films. Unlike better known Cagney and Humphrey Bogart across town, Nolan's bad and not-so-bad guys often had more depth, and again it was that face along with his verve and that distinctive voice that helped to bring it out.

The 1940s saw Nolan moving around within the studio system. He was taking on more familiar roles, such as private detective, government agent or police detective--tough and hard-boiled but sympathetic and understanding at the same time--and World War II action heroes. He landed the role of "Mike Shayne" in the private-eye series from 20th Century-Fox--seven of them between 1940 and 1942. Nolan showed a surprising flair for comedy in this series, with a continuing stream of wisecracks along with the fisticuffs. The Shayne series was well received by both critics and audiences, but Nolan is best known during that period as one of the familiar faces of World War II action films. The first is, at least to this observer, the best, but probably least known--Manila Calling. It was a part of Hollywood's concerted effort to boost civilian morale during the war, with the subject being the Japanese invasion of the Philippines, its conquest and liberation, as center stage in the War in the Pacific. Most films dealt with both retreat and return later in the war years; this 1942 film was perhaps the first to deal with the beginning and hope for the future. Nolan is his usual reliable, get-things-done professional here, an ace communications technician trying to keep the radio airways open amid the onslaught of Japanese invaders. Of all the flag-waving messages given in so many WWII films, none is as stirring as Nolan's, who by the way gets the girl, Carole Landis. It's she who stays behind with him while the rest of the radio team escapes with bombs falling. Microphone in hand and in his best hard-boiled monotone, Nolan spits out: "Manila calling, Manila calling - and I ain't no Jap!" Significantly, Nolan appeared in several other films dealing with the struggle in the Pacific, turning in a particularly strong performance in Bataan.

By 1950 Nolan was ready for television (nearly half of his career roles would tally on that side of the ledger). In addition to his series work, television in the 1950s also played a lot of Nolan's action films from the 1930s and 1940s, earning him a whole new generation of fans--kids who would sit for hours in front of the TV, watching not only current shows but "old" movies. Nolan appeared in many different genres on television, and he could be seen in everything from distinguished dramatic productions to variety and game shows, in addition to having his own series, including Martin Kane and Special Agent 7.

After having been away from Broadway for nearly 20 years, Nolan returned in early 1954 in the original production of the hit play "The Caine Mutiny Court Martial", in the pivotal role of the paranoid Captain Queeg. He spent a year in this production, to great critical acclaim. He repeated the role on television in a Ford Star Jubilee production in 1955. His TV roles kept him busy. It must have been fun for him when, at nearly 60 years of age, he played notorious Chicago gangster George Moran, aka "Bugs" Moran--who in real life was much younger than Nolan was at the time--on the popular The Untouchables, as well as appearing in five continuing episodes of the extremely popular 77 Sunset Strip series, and he appeared in other crime dramas playing, in one form or another, the kinds of roles he played on the big screen in the 1930s and 1940s.

In the 1970s, when cameo roles by older stars were becoming a popular means of luring people back to the theaters, Nolan was happy to oblige in box-office hits like Ice Station Zebra, Airport and Earthquake. When the same circumstances spread to episodic TV, Nolan was only too happy to be on hand. Most older actors--even those with good reputations--have a tendency to be a bit difficult, but Nolan was such a professional. His joy at still being able to work at the craft he loved was profound, almost childlike in enthusiasm. He never complained or claimed special privilege.

That was the measure of the man--what had been and what would continue to be. Unconventional in a natural sort of way was the norm for Lloyd Nolan. Call it keeping to one's dignity. He kept no Hollywood secrets, as was the fashion. He was very open about his autistic son. Into the 1980s and entering his 80s, Nolan still deftly handled a few final TV and screen roles, though his noted memory for lines began to fade and cue cards became necessary. He was inspired in his final film role as a retired actor, husband of showy, boozy has-been Maureen O'Sullivan and three individualistic daughters in Hannah and Her Sisters. It's a great role, and probably the most even and satisfying film effort of director Woody Allen.

Nolan's last role was a Murder, She Wrote TV episode with old friend Angela Lansbury. He still had not revealed his final secret--he was dying with lung cancer--which by then revealed itself just the same. Ravaged as he was by the disease, Lloyd Nolan--with the help of his friends and well-wishers--successfully wrapped his 156th professional acting performance before his passing. His was a life of quality, commitment, character and integrity. Were things increasingly rare in Hollywood. But, which described Lloyd Nolan, plain and simple.

William Hootkins

William Michael Hootkins was born on July 5, 1948, in Dallas, Texas. He moved to London, England in the early '70s and lived there up until 2002. Hootkins was an actor at Theatre Intime while attending Princeton University where he learned how to speak fluent Mandarin Chinese. He also trained as an actor at the London Academy of Music and Dramatic Arts, and attended St. Marks, where he was in the same theater group as Tommy Lee Jones. The imposingly bulky and heavyset Hootkins first began acting in films and TV shows alike in the mid '70s. His more noteworthy parts include the first of the Rebel fighter pilots to get killed while attacking the Death Star in "Star Wars", scientist Topol's bumbling oaf assistant in "Flash Gordon", Major Eaton, sent by the US government in "Raiders of the Lost Ark", one of Rod Steiger's demented sons in "American Gothic", a corrupt police lieutenant in "Batman", a disgusting sleazy voyeur in "Hardware", a coarse South African police chief in "Dust Devil", the mysterious and duplicitous Mr. X in "Hear My Song", a haughty corporate executive in "Death Machine", Santa Claus in "Like Father, Like Santa", and an opera-singing vampire in "The Breed". Moreover, Hootkins had small parts in two "Pink Panther" pictures: he's a taxi driver in both "The Trail of the Pink Panther" and "Curse of the Pink Panther".

Among the TV shows he did guest spots on are "Yanks Go Home", "Agony", "Play for Today", "Tales of the Unexpected", "The Life and Times of David Lloyd George", "Brett Maverick", "Cagney and Lacey", "Taxi", "Hammer House of Mystery and Suspense", "Poirot", "Chancer", "The Young Indiana Jones Chronicles", "The Tomorrow People", "The West Wing", and "Absolute Power". Hootkins received many accolades for his outstanding performance as Sir Alfred Hitchcock in Terry Johnson's hit play "Hitchcock Blonde". In addition to his substantial film and TV credits, Hootkins was also a popular and prolific voice artist who recorded dozens of plays for BBC Radio Drama; he supplied the voices for such iconic individuals as Orson Welles, J. Edgar Hoover, and Winston Churchill. William Hootkins died of pancreatic cancer on October 23, 2005.

Lionel Stander

Lionel Stander, the movie character actor with the great gravelly voice, was born on January 11th, 1908 in The Bronx borough of New York City. Stander's acting career was derailed when he was blacklisted during the 1950s after being exposed as a Communist Party member during the House Un-American Activities Committee hearings. In his own HUAC testimony in May 1953, Stander denounced HUAC's use of informers, particularly those with mental problems.

Stander specialized in playing lovable hoodlums and henchmen and assorted acerbic, hard-boiled types. His physique was burly and brutish, and his head featured a square-jaw beneath a coarse-featured pan that was lightened by his charm. But it was his gruff, foghorn voice that made his fortune.

Stander attended the University of North Carolina, but after making his stage debut at the age of 19, he decided to give up college for acting. Along with a successful stage career, his unusual voice made him ideal for radio. His movie screen debut was in the comedy short Salt Water Daffy with Jack Haley and Shemp Howard. He went on to star in a number of two-reel comedy shorts produced at Vitaphone's Brooklyn studio before moving to Hollywood in 1935, where he appeared as a character actor in many A-list features such as Nothing Sacred.

John Howard Lawson, the screenwriter who was one of the Hollywood Ten and who served as the Communist Party's cultural commissar in Hollywood, held up Stander as the model of a committed communist actor who enhanced the class struggle through his performances. In the movie No Time to Marry, which had been written by Party member Paul Jarrico, Stander had whistled a few bars of the "Internationale" while waiting for an elevator.

Stander thought that the scene would be cut from the movie, but it remained in the picture because "they were so apolitical in Hollywood at the time that nobody recognized the tune".

Stander had a long history of supporting left-wing causes. He was an active member of the Popular Front from 1936-39, a broad grouping of left-wing organizations dedicated to fighting reactionaries at home and fascism abroad. Stander wrote of the time, "We fought on every front because we realized that the forces of reaction and Faciscm fight democracy on every front. We, too, have been forced, therefore, to organize in order to combat them on every front: politically through such organizations as the Motion Picture Democratic Committee; economically through our guilds and unions; socially, and culturally through such organizations as the Hollywood Anti-Nazi League."

The Front disintegrated when the U.S.S.R. signed a non-aggression pact with Nazi Germany, which engendered World War II by giving the Nazis the get-go to invade Poland (with the Soviet Union invading from the East). The Communist Party-USA dropped out of the Front and from anti-Nazi activities, and during the early days of the War, before Germany invaded the U.S.S.R. in June 1941, it tried to hamper US support for the UK under the aegis of supporting "peace," including calling strikes in defense plants. Many communists, such as Elia Kazan, dropped out of the Party after this development, but many others stayed. These were the Stalinists that the American non-communist left grew to despise, and eventually joined with the right to destroy, though much of their antipathy after 1947-48 was generated by a desire to save themselves from the tightening noose of reaction.

Melvyn Douglas, a prominent liberal whose wife Helen Gahagan Douglas would later be a U.S. Representative from California (and would lose her bid for the Senate to a young Congressman named Richard Nixon, who red-baited her as "The Pink Lady"), had resisted Stander's attempts to recruit him to the Party. "One night, Lionel Stander kept me up until dawn trying to sell me the Russian brand of Marxism and to recruit me for the Communist Party. I resisted. I had always been condemnatory of totalitarianism and I made continual, critical references to the U.S.S.R. in my speeches. Members of the Anti-Nazi League would urge me to delete these references and several conflicts ensued."

Douglas, his wife, and other liberals were not adverse to cooperating with Party members and fellow travelers under the aegis of the MPDC, working to oppose fascism and organize relief for the Spanish Republic. They believed that they could minimize Communist Party influence, and were heartened by the fact that the Communists had joined the liberal, patriotic, anti-fascist bandwagon. Their tolerance of Communists lasted until the Soviet-Nazi Pact of August 1939. That, and the invasion of Poland by the Nazis and the USSR shattered the Popular Front.

Stander had been subpoenaed by the very first House Un-American Activities Committee inquisition in Hollywood, in 1940, when it was headed by Texas Congressman Martin Dies. The Dies Committee had succeeded in abolishing the Federal Theatre Project of the Works Progress Administration as a left-wing menace in 1939 (the FTP had put on a revival of Lawson's play about the exploitation of miners, "Prcessional," that year in New York). The attack on the FTP had been opposed by many liberals in Hollywood. Stung by the criticisms of Hollywood, the Dies Committee decided to turn its attention on Hollywood itself.

Sending investigators to Hollywood, Dies' HUAC compiled a long-list of subversives, including Melvyn Douglas. John L. Leech, a police agent who had infiltrated the Communist Party before being expelled in 1937, presented a list of real and suspected communists to a Los Angeles County grand jury, which also subpoenaed Stander. The testimony was leaked, and the newspapers reported that Stander, along with such prominent Hollywood liberals as James Cagney, Humphrey Bogart, Frederic March and Francot Tone, had been identified as communists.

Committee chairman Dies offered all of the people named as communists the opportunity to clear themselves if they would cooperate with him in executive session. Only one of the named people did not appear, and Stander was the only one to appear who was not cleared. Subsequently, he was fired by his studio, Republic Pictures.

Stander was then subpoenaed to testify before the California Assembly's Committee on Un-American Activities, along with John Howard Lawson, the union leader John Sorrell and others. During the strike led by Sorrell's militant Conference of Student Unions against the studios in 1945, Stander was the head of a group of progressives in the Screen Actors Guild who supported the CSU and lobbied the guild to honor its picket lines. They were outvoted by the more conservative faction headed by Robert Montgomery, George Murphy and Ronald Reagan. The SAG membership voted 3,029 to 88 to cross the CSU picket-line.

Stander continued to work after being fired by Republic. He appeared in Hangmen Also Die!, a film about the Nazi Reinhard Heydrich, who was assassinated by anti-fascists. After the bitter CSU strike, which was smeared as being communist-inspired by the studios, HUAC once again turned its gaze towards Hollywood, starting two cycles of inquisitions in 1947 and 1951. The screenwriter Martin Berkeley, who set a record by naming 155 names before the the second round of Committee hearings, testified that Stander had introduced him to the militant labor union leader Harry Bridges, long suspected of being a communist, whom Stander called "comrade".

After being blacklisted, Stander worked as a broker on Wall Street and appeared on the stage as a journeyman actor. He returned to the movies in Tony Richardson's The Loved One, and he began his career anew as a character actor, appearing in many films, including Roman Polanski's Cul-De-Sac and Martin Scorsese's New York, New York. Other movies he appeared in included Promise Her Anything, The Black Bird, The Cassandra Crossing, 1941, Cookie and The Last Good Time, his final theatrical film.

Stander is best remembered for playing Max on TV's Hart to Hart (1979-84) with Robert Wagner and Stefanie Powers, a role he reprised in a series of "Hart to Hart" TV movies. Stander also appeared on Wagner's earlier TV series It Takes a Thief and on the HBO series Dream On.

Lionel Stander died of lung cancer on November 30, 1994 in Los Angeles, California. He was 86 years old.

Pat O'Brien

Although he came to be called "Hollywood's Irishman in Residence"--and, along with good friends James Cagney, Allen Jenkins, Frank McHugh and a few others were called "The Irish Mafia"--and he often played Irish immigrants, Pat O'Brien was US-born and -bred. As a young boy the devoutly Roman Catholic O'Brien considered entering the seminary to study for the priesthood, but although he often played a Father, Monsignor or Bishop, he never actually followed through and entered the seminary. And although never a policeman, in movies he often wore the cop's badge and, although in real life he had no discernible Irish accent, he could pour on the "brogue" when the role called for it.

Pat O'Brien excelled in roles as beneficent men but could also give convincing performances as wise guys or con artists. He was a most popular film star during the 1930s and 1940s. Over almost five decades, he co-starred in nine films with Cagney, including his own screen swansong, Ragtime.

Johnny Duncan

Johnny Duncan at the time of writing is in his mid-80's and in good health, living with his wife Susan, and enjoying life not far from where his life began.

He started out on a small farm near Kansas City in 1923. As a child growing up during the Great Depression, Johnny danced up a storm in local towns, and with the money he saved he was able to pay out his parent's overdue mortgage to the banks. Not long after, he ran a little dance school with his little girl pal, Lou, teaching locals kids how to tap dance.

Not long after, an agent helped him make it to L.A. on a $50-a-month contract. He got roles playing juveniles with the East Side Kids/Bowery Boys and other movie roles. You can see him working the radio in the Bogart classic Action in the North Atlantic. During the war he met Lana Turner and taught her the Lindy Hop (Jitterbug). At the age of 26, he became the second Boy Wonder, in the 15-part serial Batman and Robin.

Off the set, you could find Johnny out on his Triumph 600 on the weekend in the canyons around Calabasas with mates like Lee Marvin, Larry Parks, Keenan Wynn and Clark Gable, or at dinner parties held by Jimmy Cagney. During the '50s, Johnny made fewer films after The Caine Mutiny (also with Bogart), but he did play another sailor in a film with Rita Hayworth, whom he described as the most beautiful woman in Hollywood. You can also spot him in the legendary Ed Wood flick Plan 9 from Outer Space and getting his head chopped off in Spartacus. Nowadays, you can still spot him at the occasional movie convention, signing photos from Batman and Robin and The East Side Kids.

Mae Clarke

Vivacious, blonde Mae Clarke was exposed to cinema from an early age, her father being an organist in a motion picture theatre. Growing up in Atlantic City, New Jersey, she learned how to dance and, at the tender age of 13, was already performing in nightclubs and amateur theatricals. In 1924 she was one of "May Dawson's Dancing Girls", a New York cabaret act, where she was "discovered" by producer Earl Lindsay and promptly cast in a minor part at the Strand Theatre on Times Square. She then performed as a dancer and burlesque artist at the Strand Roof nightclub, situated above the theatre (which was managed by Lindsay), and at the Everglades Club, earning $40 a week. While there she struck up a lifelong friendship with fellow actress Ruby Stevens, who would later change her name to Barbara Stanwyck.

In 1926 Mae got her first chance in "legitimate" theater, appearing in the drama "The Noose" with Stanwyck and Ed Wynn. This was followed by the musical comedy "Manhattan Mary" (1927). After further vaudeville experience Mae was screen-tested by Fox and landed her first movie role in 1929. While she was top-billed in films like Nix on Dames, she was clearly headed for B-movie status and left Fox just over a year later. This resulted in better roles for her, though she was generally cast in "hard-luck" roles. She played prostitute Molly Malloy in the hugely successful Lewis Milestone-directed The Front Page) and, on the strength of this performance, was signed by Carl Laemmle Jr. at Universal and cast to star in Waterloo Bridge (as a ballerina-turned-streetwalker, a part made famous by Vivien Leigh in the MGM remake, Waterloo Bridge). Reviewer Mordaunt Hall described Mae's complex performance as "capital" (New York Times, September 5, 1931).

Also in 1931 she had the brief but memorable role for which she will always be known: the hapless girlfriend on the receiving end of a grapefruit pushed into her face by James Cagney in The Public Enemy. She later appeared with Cagney (a close friend in real life) in still more adversarial scenes, in Lady Killer and Great Guy. Mae also had some feisty comedy roles, in Three Wise Girls with Jean Harlow, and starring in Parole Girl. She was third-billed in James Whale's Frankenstein, as Elizabeth, the title character's bride-to-be. Her best moment in the film, one of sheer terror, comes when she is confronted by the monster (Boris Karloff) in her own bedroom.

Mae's career suffered several major setbacks, beginning in 1932, from which it never fully recovered. She had a nervous breakdown in June of that year (and another in 1934), most likely caused by overwork and marital problems. This was followed by a serious car accident in March of 1933. In addition to that, her sexy screen personae became limited by the new, strict Hollywood production code. When she returned to the screen, it was to be in B-pictures. She had some rewarding parts in some films for Republic, notably The House of a Thousand Candles and the civil war romance Hearts in Bondage, with Lew Ayres. Despite an image change from frizzy blonde to brunette, she had few opportunities to shine after 1938, except, perhaps, as heroine of the Republic serial King of the Rocket Men. By the beginning of the 1950's, Mae was largely reduced to doing cameos and walk-ons, at best playing minor parts in westerns. She did, however, make several notable appearances on television, particularly on The Loretta Young Show.

Mae Clarke, an undeniable star of pre-code Hollywood, fell on hard financial times towards the end of her life. After her last film appearance in Watermelon Man, she retired to the Motion Picture & Television Country House and Hospital and devoted her remaining years to her favorite hobby: painting in the style of Swiss abstract artist Paul Klee. She died there of cancer in April 1992.

Don 'Red' Barry

Donald Barry went from the stage to the screen. After four years of playing villains and henchmen at various studios, Barry got the role that changed his image: Red Ryder in the Republic Pictures serial Adventures of Red Ryder. Although he had appeared in westerns for two years or so, this was the one that kept him there. He acquired the nickname "Red" from his association with the Red Ryder character. After the success of "Red Ryder" Barry starred in a string of westerns for Republic. Studio chief Herbert J. Yates got the idea that Barry could be Republic's version of James Cagney, as he was short and had the same scrappy, feisty nature that Cagney had. Unfortunately, while Barry could in fact be a good actor when he wanted to be -- as he showed in the World War II drama The Purple Heart -- his "feistiness", combative nature and oversized ego caused him to alienate many of the casts and crews he worked with at Republic (ace serial director William Witney detested him, calling him "the midget", and director John English worked with him once and refused to ever work with him again). Barry made a series of westerns at Republic throughout the 1940s, but by 1950 his career had pretty much come to a halt, and he was reduced to making cheaper and cheaper pictures for bottom-of-the-barrel companies like Lippert and Screen Guild. Barry continued to work and still appeared in westerns up through the 1970s, but they were often in small supporting roles, sometimes unbilled. In 1980 he committed suicide by shooting himself.

Alan Fudge

Alan Fudge was an American actor known for being part of the cast of four television programs: Man from Atlantis, Eischied, Paper Dolls, and Bodies of Evidence, along with a recurring role (eighteen appearances over eight years, as of 2005) on 7th Heaven.

Fudge was born in Wichita, Kansas. He has scores of credits, including appearances on many of the top-rated shows in the US, such as Banacek, Kojak, Marcus Welby, M.D., Little House on the Prairie, The Streets of San Francisco, Hawaii Five-O, M*A*S*H, Starsky and Hutch, Charlie's Angels, Wonder Woman, Lou Grant, Knots Landing, Magnum, P.I., Cagney & Lacey, The A-Team, St. Elsewhere, Highway to Heaven, Dallas, MacGyver, Dynasty, Matlock, Falcon Crest, L.A. Law, The Wonder Years, Northern Exposure, Murder, She Wrote, Home Improvement, Beverly Hills, 90210, Baywatch, and Dawson's Creek.

Margaret Lindsay

Picture-pretty brunette Margaret Lindsay was one of a number of pleasant, sweet-natured ingénues who could do no wrong in a score of 1930s stylish Hollywood pictures. Such altruistic love interests were often overlooked in pictures that were carried by the flashy histrionics of a jaunty James Cagney or temperamental Bette Davis, both of whom she supported in several films. Ergo, while she was a lovely distraction and a highly capable talent, Margaret failed to ignite and command the attention of a truer star.

The Dubuque, Iowa-born lovely was christened Margaret Kies in real life, the eldest of six (she had four sisters (Helen, Jane, Lori, Mickie), one brother (Jack)). Her father, a druggist, enrolled her at the National Park Seminary in Washington, DC. The acting bug hit Margaret quite early, however, and she subsequently attended New York's American Academy of Dramatic Arts to pursue her dream. Unable to find work in New York, she traveled to England for further speech and acting study. Here she made her professional stage debut and gained experience and confidence in such plays as "Escape," "By Candlelight," and "Death Takes a Holiday". With her resume now consisting of strong theatre credits, she returned to the States hoping to finally make a mark on Broadway, but again her career stalled. While waiting for a show of hers to open following production delays (eventually she co-starred on Broadway opposite Roland Young in "Another Love Story"), Margaret had a number of screen tests arranged for her. Shelving her Iowa-based roots, Universal took an interest in the "British stage actress" and signed her on. She made her debut in Okay America! and toiled in a few minor roles before taking full advantage of her "English tea rose" reputation with a small but noticeable part in the "all-British" grand-scale epic film Cavalcade as an optimistic honeymooner on board the fateful H.M.S.Titanic.

Warner Bros. then picked up her option and began featuring her gracefully opposite such magnanimous stars as Leslie Howard, Douglas Fairbanks Jr., George Arliss and Humphrey Bogart. "Americanized" as a lead and second lead, she was able to drop the British pretense and appeared opposite Cagney in Lady Killer, Devil Dogs of the Air, Frisco Kid and 'G' Men. The studio had her work as a second-lead to Ms. Davis as well in such films as Fog Over Frisco and Bordertown. Of note, she supported Davis in both her Oscar-winning "Best Actress" pictures -- Dangerous and Jezebel. She also took on a Davis castoff role in Garden of the Moon, a musical in which Margaret did not sing.

Margaret's longstanding problem was that she was either involved in minor pictures that would do nothing to advance her career or was handed oblique secondary roles in "A" pictures wherein she played the star's best friend, light romantic rival or socialite. One of Margaret's sisters, Jane Gilbert was briefly an actress in the late 1930s/early '40s and was once married to Perry Mason co-star William Hopper, who played private investigator Paul Drake.

Following one of her best roles as Hepzibah in Nathaniel Hawthorne's The House of the Seven Gables, Margaret signed up with Columbia in the recurring "Ellery Queen" series (seven in all) as mystery writer Nikki Porter opposite either Ralph Bellamy or William Gargan's title crime solver. Probably her best remembered role, this renewed popularity did not guarantee "A" pictures and she remained for the most part in second tier filming. One of her more atypical roles came as a man-baiting saloon girl in The Vigilantes Return. In the 1940s, she replenished her film resume with secondary ladylike roles behind Joan Bennett in Scarlet Street, Lana Turner in Cass Timberlane and Barbara Stanwyck in B.F.'s Daughter. Margaret also sought work on TV and on the legit stage in the next decade. Her final film was in typically pleasant mode as Nurse Colman in Tammy and the Doctor showcasing a nubile Sandra Dee.

Margaret never married in real life but remained close to her family. Her dating companions were typically "safe" stars such as Cesar Romero, Richard Deacon, and even Liberace. For much of her time in Hollywood, Margaret shared a home with a close sister. She died at age 70 in Los Angeles of emphysema in the spring of 1981.

Brett Halsey

Internationally known actor Brett Halsey, one of Hollywood's busiest and handsomest actors of the mid-to-late 50s and early 60s, was born Charles Oliver Hand to a builder/contractor in Santa Ana, California on June 20, 1933. Interested in performing from childhood (he appeared in local community and church plays), the young man found a modest "in" when he was hired as a teenage page at CBS Television studios. A chance meeting with the legendary Jack Benny and wife Mary Livingstone who taped "The Jack Benny Show" at CBS led to his being accepted to study at Universal-International's training school that also included at the time future Universal stars Clint Eastwood and David Janssen. These intense studies eventually led to a contract offered by the studio.

Before deciding to pursue acting full time, the young teenager joined the Navy and enjoyed a brief stint as a deejay. Once signed with Universal, the studio decided to take advantage of Brett's esteemed ancestry (as the nephew of famed WWII Admiral William "Bull" Halsey) and changed the young nascent actor's stage name to the more marquee-friendly "Brett Halsey." He gained extensive experience apprenticing in a string of Universal bit parts, glimpsed in such standard filming as Walking My Baby Back Home, The Man from the Alamo, The Black Shield of Falworth, Ma and Pa Kettle at Home (as one of the young Kettle brood), Revenge of the Creature (as a victim) and _The Girl He Left Behind (1956). Eventually Brett's camera-worthy dark-haired good looks, penetrating blue eyes and earnest 'matinee idol' demeanor found their way front-and-center on TV drama ("Brave Eagle," "Mackenzie's Raiders," "Gunsmoke," "Perry Mason," "Highway Patrol," Harbor Command" and "Sea Hunt").

In the late 1950s, Brett increased his cinematic visibility with the growing interest of lowbudget "juvenile delinquent" films. Several of Brett's features, such as _Hot Rod Rumble (1957) with 'Leigh Snowden', Roger Corman's cult classic The Cry Baby Killer with Jack Nicholson, High School Hellcats and _Speed Crazy (1959), the last two co-starring Yvonne Lime, have since attained camp and/or cult status. He ended that series of filming with The Girl in Lovers Lane with Joyce Meadows.

Keeping in step with the then-popular trend of showcasing cool, hunky "beefcake" talent in TV adventure series with interesting or exotic locales, such as when Edd Byrnes combed his way to teen idol status on "77 Sunset Strip," Van Williams and Troy Donahue checked into "Surfside Six" and Robert Conrad spruced up "Hawaiian Eye," Brett fell into a co-starring role with Barry Coe, Gary Lockwood and former child star Gigi Perreau in the one-season adventure series Follow the Sun, as a free-lance magazine writer looking for action in Honolulu. For his work, he earned a Golden Globe Award for "New Star of the Year".

Following co-star/featured work in the war films To Hell and Back, The Last Blitzkrieg (1958)_ and Jet Over the Atlantic, the sci-fi thrillers Return of the Fly (with Vincent Price) and The Atomic Submarine, the large-scale ensemble sudsers The Best of Everything and Return to Peyton Place (1961)_, the crime drama Desire in the Dust and the horror opus Twice-Told Tales, the 28-year-old Brett decided to follow a number of other young vital and promising American actors who wished to take advantage of career opportunities opening up overseas in Italy. What was originally a one-time acting job in Italy led to a decade-long stay in films. Often billed as "Montgomery Ford," Brett starred as several sword-and-sandal type heroes in including the spectacles Le sette spade del vendicatore [The Seventh Sword], Il magnifico avventuriero [The Magnificent Adventurer] and The Avenger of Venice [The Avenger of Venice]. He also settled comfortably into the fashionable international spy, "spaghetti" western and giallo genres with a slew of work including Spy in Your Eye [Spy in Your Eye], Espionage in Lisbon [Espionage in Lisbon], The Hour of Truth [The Hour of Truth], Uccidete Johnny Ringo [Johnny Ringo], Congress of Love [Congress of Love], Web of Violence [Web of Violence], Bang Bang, Today We Kill, Tomorrow We Die! [Today We Kill...Tomorrow We Die], Tutto sul rosso [All on the Red], Wrath of God [Wrath of God], Twenty Thousand Dollars for Seven [Twenty Thousand Dollars for Seven], Roy Colt and Winchester Jack and Four Times that Night [Four Times That Night].

In the early 1970s, Brett returned to the United States and planted himself squarely into TV work again, particularly in daytime drama. He appeared with regularity on General Hospital, Search for Tomorrow, Love Is a Many Splendored Thing, and, his last, a two-year stint (1980-82) on The Young and the Restless. Halsey continued sporadically in films as well, such as the comedy Where Does It Hurt? starring Peter Sellers, Ratboy, The Godfather: Part III and Beyond Justice, while also finding steady work on the small screen - "Alias Smith and Jones," "Toma," "The Love Boat," "The Bionic Woman," "Charlie's Angels," "Fantasy Island," "The Dukes of Hazzard," "Buck Rogers in the 25th Century," "Columbo," "Matt Houston" and "Cagney & Lacey".

At age 80+, the stalwart character actor continues to be seen from time to time with recent roles in the films Hierarchy, The Scarlet Worm, Club Utopia (in which he held a leading role), and Risk Factor. Also known at one time as a film acting teacher, Halsey also writes novels ("The Magnificent Strangers") and screenplays while making occasional guest appearances at film festivals. One biography: "Brett Halsey: Art or Instinct in the Movies," which chronicles the actor's prolific career, was published in 2008. At various times, he has lived out of the country in Costa Rica, Canada and Italy.

Brett is the father of five children. In 1954, he married imported Universal starlet Renate Hoy, an actress who won the "Miss Germany" beauty contest that same year. Together they had two children, the late Charles Oliver Hand, Jr. (a.k.a. punk rock performer "Rock Halsey" and/or "Rock Bottom") and Tracy Leigh. The couple divorced five years later. His second marriage (1960-1962) to exotic James Bond ("Thunderball") vixen Luciana Paluzzi, an Italian beauty, produced son Christian, who is a producer ("American Psycho"). Halsey and Paluzzi co-starred in Return to Peyton Place during their brief union. A third union (1964-1976) to German actress Heidi Brühl, best known here for her US role in the 1975 Clint Eastwood film "The Eiger Sanction," produced two more children: Clayton, a TV video editor ("Big Brother"), and Nicole. Halsey is presently wed to Victoria Korda, granddaughter of British filmmaker Alexander Korda.

Steven Keats

Excellent, prolific, and versatile film, stage, and television actor Steven Keats was born on February 6, 1945 in The Bronx, New York City, to a Danish-born father from Copenhagen and an NY-born mother, both of Polish Jewish descent. Keats grew up in Canarsie, The Bronx and graduated from the High School for Performing Arts in Manhattan. He served in the Air Force during the Vietnam War in 1965 and 1966. Following his tour of duty, Steven returned to the United States and attended both the Yale School of Drama and Montclair State College. Keat made his Broadway stage debut in 1970 as part of the second cast for "Oh! Calcutta." His most memorable movie roles include spaced-out punk hood Jackie Brown in "The Friends of Eddie Coyle," Charles Bronson's son-in-law Jack Toby in "Death Wish," Carol Kane's Americanized Jewish immigrant husband Jake Putkovsky in "Hester Street," Robert Shaw's Israeli sidekick Moshevsky in "Black Sunday," and obsessive mad scientist Dr. Philip Spires in "Silent Rage." Steven was nominated for an Emmy for Outstanding Lead Actor in a Limited Series for his exceptional portrayal of ruthless Depression-era rag trade tycoon Jay Blackman in the mini-series "Seventh Avenue." Among the many shows Keats made guest appearances on are "Kojak," "The Streets of San Francisco," "The Rockford Files," "Starsky and Hutch," "Barnaby Jones," "Cagney & Lacey," "The Love Boat," "The A-Team," "Hunter," "T.J. Hooker," "Hill Street Blues," "Miami Vice," "Matlock," and "MacGyver." Moreover, he played Thomas Edison on an episode of "Voyagers!". He was the father of sons Shane and Thatcher. Steven was found dead in his Manhattan apartment on May 8, 1994; the cause of death was ruled an apparent suicide. Keats was only 49 years old.

Robert Armstrong

Robert Armstrong is familiar to old-movie buffs for his case-hardened, rapid-fire delivery in such roles as fast-talking promoters, managers, FBI agents, street cops, detectives and other such characters in scores of films--over 160--many of them at Warner Brothers, where he was part of the so-called "Warner Brothers Stock Company" that consisted of such players as James Cagney, Pat O'Brien, Frank McHugh, Alan Hale and Humphrey Bogart, among others.

Although he could easily be taken for having grown up in a tough area of Brooklyn or the Bronx, he was actually from the Midwest. He was born in Saginaw, Michigan, in 1890, and his father owned a small and profitable flotilla of boats for use on Lake Michigan. Hearing the Siren call of the gold fields in late 19th-century Alaska, however, he packed up the family and headed west. A typical staging place to start north was in Washington state, and the family settled in Seattle. Robert spent a short hitch in the infantry during World War I. Afterwards he decided to go into law and started to study at the University of Washington. However, it wasn't long before that he decided he had a gift for acting and--perhaps influenced by his uncle, playwright and producer Paul Armstrong--decided to follow that path. He hooked up with future Hollywood character actor James Gleason, known to everyone as "Jimmy", who worked for a variety of playhouses in California and Oregon and who was heir to his parents' stock company, which toured across the US. Armstrong joined Gleason's company and returned with them to New York. He started from the bottom up, learning the craft of acting. After moving on to leading roles, he received the prime part in Gleason's own play "Is Zat So?" (1925-1926), a particularly successful play among several he had written (he also directed and produced plays on Broadway into 1928).

Hollywood scouts were watching, and Armstrong found himself with a film contract. He appeared in approximately 10 films in 1928 alone, and after the first five he was able, with the advent of sound, to give voice to the take-charge, mile-a-minute, clenched-teeth delivery that would make him one of the busiest character men in Hollywood--and right alongside him in several of his early 1930s features was his old friend and boss Jimmy Gleason.

It was in 1932 that Armstrong became acquainted with an ambitious and adventurous pair of Hollywood filmmakers. Both were World War I fliers, big-game hunters and animal trappers, and partners in high adventure documentaries, Merian C. Cooper and Ernest B. Schoedsack had found a friend in rising producer David O. Selznick, who brought them on board at RKO, with Cooper as production idea man. Schoedsack was the technical side of the pair, knowledgeable about the actual physical and technical side of filmmaking, , and became the actual director of their projects, with Cooper as an associate producer and sometime co-director. They turned out what would be the first of a string of horror-tinged adventure movies, The Most Dangerous Game, with Armstrong having a part in it. He got in his usual wisecrack lines but from a less dimensioned character who had an early demise--the film centered on Joel McCrea and still young silent screen veteran Fay Wray. Cooper saw much of himself in Armstrong's general personality and wanted him for a film that he had been wanting to make for quite a few years, an adventure yarn dealing with the stories he had heard during his years making films in jungles all over the world of giant, vicious apes. The resulting film, King Kong, would put Armstrong at stage center as big-time promoter Carl Denham (very much Cooper himself). The film also began co-star Fay Wray on the road to stardom. With Copper and Schoedsack co-directing and the legendary Willis H. O'Brien heading up a visual effects team supporting his for-the-time astounding animated miniature sequences, the film was a treasure trove for RKO, bringing newfound respect for a studio known mostly for its "B" action films and westerns. It was Armstrong's defining moment and set the stage for the plethora of leading man and second lead roles he would play through the 1930s.

A sequel, The Son of Kong, followed almost immediately with the same production team and, though not achieving the critical or box-office acclaim as its predecessor, showcased another Armstrong strength--a great sense of comedic timing that had been evident, but not really traded upon, in previous films. The Cooper/Schoedsack team got in one more for 1933, with Armstrong as an uncommon--for him--romantic lead in Blind Adventure, a fast-paced but but often uneven adventure yarn. All the studios wanted him, and what followed was a flood of usually good, crowd-pleasing roles, although still in "B" pictures. Among the better ones were Palooka and 'G' Men, with Armstrong playing a hard-nosed FBI agent who is mentor and partner to a young James Cagney. With a full menu of adventure yarns and colorful cop and military roles, at the end of the decade Armstrong even played one of America's great folk heroes - Jim Bowie - in Man of Conquest, this time at Republic Pictures.

Armstrong got more of the same in the decade of World War II--although with age he started to slip down the cast list--with some variety, playing a Nazi agent in the spoof My Favorite Spy and--in somewhat ridiculous "Japanese" makeup--as a Japanese secret-police colonel (named Tojo) with former co-star James Cagney in the escapist romp Blood on the Sun. Finally, Cooper--gorillas still on his mind--came calling for Armstrong again for his Mighty Joe Young, which he made about midway in his association with partner John Ford in their Argosy Pictures venture under the wing of RKO. Armstrong was again a reincarnation of Carl Denham as Max O'Hara, a fast-talking promoter looking for a sensation in "Darkest Africa". The Ford touch is perhaps seen in the cowboys who go along with young Ben Johnson as romantic lead to enthusiastic--to say the least--Terry Moore with her pet gorilla Joe (about half as big as King Kong but definitely no ordinary gorilla). It is a great little movie, with more light-hearted tone than "Kong" and a red-tinted fire scene recalling the silents. It was a Saturday matinée favorite for at least a decade afterward (this writer enjoyed it as his first movie theater adventure as a small child).

Armstrong increasingly went to the small screen through the 1950s. He was a familiar face on most of the TV playhouse programs of the period and did many of the series oaters and crime shows of the period. He received a great send-up as a guest on Red Skelton's variety show when the oft giggling host asked him, "Say, did you ever get that monkey off that building?" Armstrong liked keeping busy and helping friends. One of the latter was Cooper--still promoting as his alter ego Carl Denham in his old age. The two passed away within 24 hours of one another in April of 1973.

Robert Barrat

Robert Barrat pursued a stage career on Broadway from 1918 to 1932. He did sample a scant three silent movies starting in 1915, but returned to stage work. Barrat had a distinguished enough visage but also a well knit physique that would foretell a busy career in films with many featured character roles which he turned to in 1932. He therefore portrayed lawyers, business owners, and officials of all sorts, as well as, detectives, hardened sailors, and various desperate characters. Barrat had a deep guttural voice which he could roll around in his mouth to pitch out some unique variations. Such was his Wolverstone in Captain Blood, and his Lord Morton with a brogue in Mary of Scotland. Barrat was a dedicated physical fitness devotee and showed off a still manly form as Chingachgook in The Last of the Mohicans.

Barrat was probably grateful to slow down a bit after 1936, for up to then he was much in demand with an average of twenty films a year. As it was he continued with a usual ten films per year to 1940. He did several movies with James Cagney in the 1930s, and they became good friends. Cagney described his friend as having "a solid forearm the size of the average man's thigh." Barrat continued a rich and varied character role career through the 1940s and early 1950s. The roles were more of the dignified variety-fatherly figures, a few Indian chiefs and military men - and several generals. He had the non-speaking role of General Douglas MacArthur-his hawk of a nose needing little enhancement (he was shot from side angles and distance) - in They Were Expendable. By 1954 he turned to TV playhouse roles off and on until 1964. He loved challenging himself with doing accents and certainly succeeded in this and in turning out memorable roles in over 150 films.

Joseph Sirola

JOE SIROLA has starred in more than 600 TV shows - everything from his own series' such as "The Montefuscos," and "Wolf," to "Get Smart, " "Man from U.N.C.L.E.," and "The Magician"; and films - with Rock Hudson and Gina Lollobrigida in "Strange Bedfellows"; with Clint Eastwood in "Hang 'Em High" and in such others as George Stevens' "The Greatest Story Ever Told," "Super Cops," and "Hail to the Chief;" and on Broadway in Molly Brown; Pal Joey and Golden Rainbow among others. The Wall Street Journal named him "King of the Voiceovers," having recorded 10,000+ commercials, and he has been called "The Green Thumb of the Upper East Side" for his amazing rooftop garden. His one-man piece, Shakespeare's Ages of Man, where Joe performs eighteen of the bard's great characters, is continually successful around the country. And, in the last few year's Joe has returned to Broadway...this time as a Tony Award-winning producer. Among his NY producing credits are Cagney: The Musical; the Tony-winning Best Musical A Gentleman's Guide To Love And Murder; The Trip To Bountiful; The Motherf**ker with the Hat; Love Letters (Revival); Ghetto Klown; Rogers And Hammerstein's Cinderella; Stick Fly and Time Stands Still. And that's Joe Sirola-- a man of many talents and the happy ability to pursue them all successfully.

Raoul Walsh

Raoul Walsh's 52-year directorial career made him a Hollywood legend. Walsh was also an actor: He appeared in the first version of W. Somerset Maugham's "Rain" renamed Sadie Thompson opposite Gloria Swanson in the title role. He would have played the Cisco Kid in his own film In Old Arizona if an errant jackrabbit hadn't cost him his right eye by leaping through the windshield of his automobile. Warner Baxter filled the role and won an Oscar. Before John Ford and Nicholas Ray, it was Raoul Walsh who made the eye-patch almost as synonymous with a Hollywood director as Cecil B. DeMille's jodhpurs.

He interned with the best, serving as assistant director and editor on D.W. Griffith's racist masterpiece, The Clansman, better known as The Birth of a Nation, a blockbuster that may have been the highest-grossing film of all time if accurate box office records had been kept before the sound era. He pulled triple duty on that picture, playing John Wilkes Booth, the man who assassinated President Abraham Lincoln at Ford's Theater and ranked as the most notorious American actor of all time until Pee Wee Herman (Paul Reubens).

The year before The Clansman, Walsh was second unit director on The Life of General Villa, also playing the Mexican revolutionary Pancho Villa as a young man. Walsh got his start in the business as co-director of another Pancho Villa flick, The Life of General Villa, in 1912. The movie featured footage shot of an actually battle between Villa's forces and Mexican federal troops.

In 1915, in addition to helping out the great Griffith, Walsh directed no less than 14 films, including his first feature-length film, Regeneration, which he also wrote. The movie starred silent cinema superstar Anna Q. Nilsson as a society woman turned social worker who aids the regeneration of a Bowery gang leader. It was a melodrama, but an effective one. In his autobiography, Walsh credited D.W. Griffith with teaching him about the art of filmmaking and about production management techniques. The film is memorable for its shots of New York City, where Walsh had been born 28 years earlier on March 11, 1887.

Raoul Walsh would continue to be a top director for 40 years and would not hang up his director's megaphone (if he still had one at that late in the game) until 1964. As a writer, his last script was made in 1970, meaning his career as a whole spanned seven decades and 58 years.

He introduced the world to John Wayne in The Big Trail in 70mm wide-screen in 1930. It would take nine more years and John Ford to make the Duke a star. In one three-year period at Warner Bros., he directed The Roaring Twenties, They Drive by Night, High Sierra, The Strawberry Blonde, Manpower, They Died with Their Boots On, and Gentleman Jim, among other films in that time frame. He helped consolidate the stardom of Humphrey Bogart and Errol Flynn while directing the great James Cagney in one of his more delightful films, The Strawberry Blonde. This was the same director that would elicit Cagney's most searing performance since The Public Enemy in the crime classic White Heat.

Novelist Norman Mailer says that Walsh was dragged off of his death bed to direct the underrated film adaptation of Mailer's The Naked and the Dead. The movie is as masculine and unsentimental as the book, an exceedingly harsh look at the power relations between men at war on the same side that includes the attempted murder of prisoners of war and the "fragging" of officers (Sergeant Croft allows his lieutenant to walk into an ambush). Walsh was at his best when directing men in war or action pictures.

Raoul Walsh seemingly recovered from Mailer's phantasmagorical death bed, as he lived another 22 years after The Naked and the Dead. He died on December 31, 1980, in Simi Valley, California, at the age of 93.

James Wong Howe

Master cinematographer James Wong Howe, whose career stretched from silent pictures through the mid-'70s, was born Wong Tung Jim in Canton (now Guangzhou), China, on August 28, 1899, the son of Wong How. His father emigrated to America the year James was born, settling in Pasco, Washington, where he worked for the Northern Pacific Railroad. Wong How eventually went into business for himself in Pasco, opening a general store, which he made a success, despite the bigotry of the locals.

When he was five years old, Wong Tung Jim joined his father in the US. His childhood was unhappy due to the discrimination he faced, which manifested itself in racist taunting by the neighborhood children. To get the kids to play with him, Jimmie often resorted to bribing them with candy from his father's store. When Jimmie, as he was known to his friends and later to his co-workers in the movie industry, was about 12 years old he bought a Kodak Brownie camera from a drugstore. Though his father was an old-fashioned Chinese, suspicious about having his picture taken and opposed to his new hobby, Jimmie went ahead and photographed his brothers and sisters. Unfortunately, when the photos were developed, the heads of his siblings had been cut off, as the Brownie lacked a viewfinder.

His childhood dream was to be a prizefighter, and as a teenager he moved to Oregon to fight. However, his interest soon waned, and he moved to Los Angeles, where he got a job as an assistant to a commercial photographer. His duties included making deliveries, but he was fired when he developed some passport photos for a friend in the firm's darkroom. Reduced to making a living as a busboy at the Beverly Hills Hotel, he journeyed down to Chinatown on Sundays to watch movies being shot there.

Jimmie Howe made the acquaintance of a cameraman on one of the location shoots, who suggested he give the movies a try. He got hired by the Jesse Lasky Studios' photography department at the princely sum of $10 per week, but the man in charge thought he was too little to lug equipment around, so he assigned Jimmie custodial work. Thus the future Academy Award-wining cinematographer James Wong Howe's first job in Hollywood was picking up scraps of nitrate stock from the cutting-room floor (more important than it sounds, as nitrate fires in editing rooms were not uncommon). The job allowed him to familiarize himself with movie cameras, lighting equipment and the movie film-development process.

His was a genuine Horatio Alger "Up From His Bootstraps" narrative, as by 1917 he had graduated from editing room assistant to working as a slate boy on Cecil B. DeMille's pictures. The promotion came when DeMille needed all his camera assistants to man multiple cameras on a film. This left no one to hold the chalkboard identifying each scene as a header as the take is shot on film, so Jimmie was drafted and given the title "fourth assistant cameraman. He endeared himself to DeMille when the director and his production crew were unable to get a canary to sing for a close-up. The fourth assistant cameraman lodged a piece of chewing gum in the bird's beak, and as it moved its beak to try to dislodge the gum, it looked like the canary was singing. DeMille promptly gave Jimmie a 50% raise.

In 1919 he was being prepared for his future profession of cameraman. "I held the slate on Male and Female", he told George C. Pratt in an interview published 60 years later, "and when Mr. DeMille rehearsed a scene, I had to crank a little counter . . . and I would have to grind 16 frames per second. And when he stopped, I would have to give him the footage. He wanted to know how long the scene ran. So besides writing the slate numbers down and keeping a report, I had to turn this crank. That was the beginning of learning how to turn 16 frames".

Because of the problem with early orthochromatic film registering blue eyes on screen, Howe was soon promoted to operating cameraman at Paramount (the new name for the Lasky Studio), where his talents were noted. A long-time photography buff, Jimmie Howe enjoyed taking still pictures and made extra money photographing the stars. One of his clients was professional "sweet young thing" Mary Miles Minter, of the William Desmond Taylor shooting scandal, who praised Jimmie's photographs because they made her pale blue eyes, which did not register well on film, look dark. When she asked him if he could replicate the effect on motion picture film, he told her he could, and she offered him a job as her cameraman.

Howe did not know how he'd made Minter's eyes look dark, but he soon realized that the reflection of a piece of black velvet at the studio that had been tacked up near his still camera had cast a shadow in her eyes, causing them to register darkly. Promoted to Minter's cameraman, he fashioned a frame of black velvet through which the camera's lens could protrude; filming Minter's close-ups with the device darkened her eyes, just as she desired. The studio was abuzz with the news that Minter had acquired a mysterious Chinese cameraman who made her blue eyes register on film. Since other blue-eyed actors had the same problem, they began to demand that Jimmie shoot them, and a cinematography star was born.

Jimmie Howe was soon advanced beyond operating cameraman to lighting cameraman (called "director of photography" in Hollywood) on Minter's Drums of Fate, and he served as director of photography on The Trail of the Lonesome Pine the next year. As a lighting cameraman he was much in demand, and started to freelance. Notable silent pictures on which he served as the director of photography include Paramount's Mantrap, starring "It Girl" Clara Bow, and MGM's Laugh, Clown, Laugh, starring silent superstar John Gilbert opposite Joan Crawford.

The cinematography on "Mantrap" was his breakthrough as a star lighting cameraman, in which his lighting added enormously to bringing out Clara Bow's sex appeal. He bathed Bow in a soft glow, surrounding the flapper with shimmering natural light, transforming her into a seemingly three-dimensional sex goddess. Even at this early a stage in his career, Howe had developed a solid aesthetic approach to film, based on inventive, expressive lighting. The film solidified his reputation as a master in the careful handling of female subjects, a rep that would get him his last job a half-century later, on ;Barbra Streisand''s Funny Lady.

Jimmie Howe journeyed back to China at the end of the decade to shoot location backgrounds for a movie about China he planned to make as a director. Though the movie was never made, the footage was later used in Josef von Sternberg's Shanghai Express. When he returned to the US, Hollywood was in the midst of a technological upheaval as sound pictures were finishing off the silent movie, which had matured into a medium of expression now being hailed as "The Seventh Art." The silent film, in a generation, had matured into a set art form with its own techniques of craftsmanship, and pictures like 7th Heaven and The Bridge of San Luis Rey generally were thought to be examples of the "photoplay" reaching perfection as a medium. This mature medium now was violently overthrown by the revolutionary upstart, Sound. The talkies had arrived.

The Hollywood Howe returned to was in a panic. All the wisdom about making motion pictures had been jettisoned by nervous studio heads, and the new Hollywood dogma held that only cameramen with experience in sound cinematography could shoot the new talking pictures, thus freezing out many cameramen who had recently been seen as master craftsmen in the silent cinema. Director William K. Howard, who was in pre-production with his film Transatlantic, wanted Jimmie Howe's expertise. Having just acquired some new lenses with $700 of his own money, Howe shot some tests for the film, which impressed the studio enough to gave Howard permission to hire Jimmie to shoot it.

Once again, his career thrived and he was much in demand. He earned the sobriquet "Low-Key Howe" for his low-contrast lighting of interiors, exerting aesthetic control over the dark spots of a frame in the way that a great musician "played" the silences between notes. In 1933 he gave up freelancing and started working in-house at MGM, where he won a reputation for efficiency. He shot The Thin Man in 18 days and Manhattan Melodrama in 28 days. It was at MGM that he became credited as "James Wong Howe". Howe's original screen credit was "James Howe" or "Jimmie Howe", but during his early years at MGM "Wong" was added to his name by the front office, "for exotic flair", and his salary reached $500 a week. After shooting 15 pictures for MGM, he moved over to Warner Bros. for Algiers, garnering him his first Academy Award nomination. Studio boss Jack L. Warner was so thrilled by Howe's work with Hedy Lamarr that he signed Jimmie to a seven-year contract. James Wong Howe shot 26 movies at Warners through 1947, and four others on loanout to other studios.

A master at the use of shadow, Howe was one of the first DPs to use deep-focus cinematography, photography in which both foreground and distant planes remain in focus. His camerawork typically was unobtrusive, but could be quite spectacular when the narrative called for it. In the context of the studio-bound production of the time, Wong Howe's lighting sense is impressive given his use of location shooting. Citic James Agee called him one of "the few men who use this country for background as it ought to be used in films." Wong Howe used backgrounds to elucidate the psychology of the film's characters and their psychology, such as in Pursued, where the austere desert landscape serves to highlight the tortured psyche of Robert Mitchum's character.

Wong Howe was famed for his innovations, including putting a cameraman with a hand-held camera on roller skates inside a boxing ring for Body and Soul to draw the audience into the ring. He strapped cameras to the actors' waists in The Brave Bulls to give a closer and tighter perspective on bullfighting, a sport in which fractions of an inch can mean the difference between life and death. He was hailed for his revolutionary work with tracking and distortion in Seconds, in which he used a 9mm "fish-eye" lens to suggest mental instability.

James Wong Howe became the most famous cameraman in the world in the 1930s, and he bought a Duesenberg, one of the most prestigious and expensive automobiles in the world. His driving his "Doozy" around Hollywood made for an incongruous sight, as Chinese typically were gardeners and houseboys in prewar America, a deeply racist time. During World War II anti-Asian bigotry intensified, despite the fact that China was an ally of the United States in its war with Japan. Mistaken for a Japanese (despite their having been relocated to concentration camps away from the Pacific Coast), he wore a button that declared "I am Chinese." His close friend James Cagney also wore the same button, out of solidarity with his friend.

Wong Howe was involved in a long-term relationship with the writer Sanora Babb, who was a Caucasian. Anti-miscegenation laws on the books in California until 1948 forbade Caucasians from marrying Chinese, and the couple could not legally marry until 1949, after the laws had been repealed. In September of 1949 they finally tied the knot, and Sanora Babb Wong Howe later told a family member that they had to hunt for three days for a sympathetic judge who would marry them.

Wong Howe eventually bought a Chinese restaurant located near the Ventura Freeway, which he managed with Sanora. When a photographer from a San Fernando Valley newspaper came to take a picture of the eatery, Howe counseled that he should put a wide-angle lens on his camera so he wouldn't have to stand so close to the freeway to get the shot. "I'll take the picture," the photographer unknowingly snapped at one of the master cinematographers of the world, "you just mind your goddamned noodles!"

Perhaps due to the sting of racism, the hypocrisy of a country fighting the Nazis and their eugenics policies that itself allowed the proscription of racial intermarriage, which kept him from legally marrying the woman he loved, or perhaps because of the Red-baiting that consumed Hollywood after the War, James Wong Howe's professional reputation began to decline in the late 1940s. Losing his reputation for efficiency, he was branded "difficult to work with," and producers began to fear his on-set temper tantrums. Though Wong Howe was never blacklisted, he came under the scrutiny of the House Un-American Activities Committee for his propensity for working with "Reds", "Pinks" and "fellow-travelers" such as John Garfield. Though he was never hauled in front of HUAC, Wong Howe's good friend Cagney had been a noted liberal in the 1930s. James Wong Howe felt the chill cast over the industry by McCarthyism.

In 1953 Wong Howe was given the opportunity to direct a feature film for the first time, being hired to helm a biography of Harlem Globetrotters founder Abe Saperstein, Go Man Go. The film, which was brought in at 21 days on a $130,000 budget, did nothing to enhance his reputation. Howe managed to pull out of his career doldrums, and after McCarthyism crested in 1954 he won his first Oscar for the B+W cinematography of The Rose Tattoo, in which the shadows created by Howe's cinematography reveal the protagonist Serafina's emotional turmoil as much as the words of Tennessee Williams. He directed one more picture, the undistinguished Invisible Avenger, a B-movie in which The Shadow, Lamont Cranston, investigated the murder of a New Orleans bandleader, before returning to his true vocation, the motion picture camera.

By the mid-'50s Howe had made it back to the top of the profession. In 1957 he did some of his most brilliant work on Sweet Smell of Success, a textbook primer on the richness of B+W cinematography. Ironically, he was not Oscar-nominated for his work on the film, but was nominated the following year for his color work on The Old Man and the Sea and won his second Oscar for the B+W photography of Hud. Once again Wong Howe used a landscape, the barren and lonely West Texas plains, to highlight the psychological state of the film's protagonist, the amoral and go-it-alone title character played by Paul Newman.

One of Wong Howe's favorite assignments in his career was the five-month shoot under the once-blacklisted Martin Ritt on The Molly Maguires, a tale of labor strife, which was shot on location in the Pennsylvania coal fields. His health started to fail after the shoot, and he was forced into retirement, requiring frequent hospitalization in the final years of his life. Reportedly he had to turn down the offer to shoot The Godfather, as he was not healthy enough to undertake the assignment. Gordon Willis got the job instead.

When Funny Lady producer Ray Stark fired Vilmos Zsigmond as the director of photography of his Funny Girl sequel, he hired Howe due to his faith that the great lighting cameraman who had done wonders with Mary Miles Minter, Clara Bow, and Heddy Lamar could glamorize his star, Barbra Streisand. Howe took over the shoot, but his health gave out after a short time and he collapsed on the set. Oscar-winner Ernest Laszlo, then-president of the American Society of Cinematographers, filled in until Howe returned from the hospital and finished the shoot. He received his last Oscar nomination for his work on the film. It marked the end of a remarkable career in motion pictures that spanned almost 60 years.

By the time of his retirement, he had long been acknowledged as a master of his art, one of the greatest lighting cameramen of all time, credited with shooting over 130 pictures in Hollywood and England. He worked with many of the greatest and most important directors in cinema history, from Allan Dwan in the silent era to Sidney Lumet in the 1960s. He created three production companies during his professional career, an untopped career in which he racked up ten Academy Award nominations in both B+W white and color (including notoriously difficult Technicolor), in formats ranging from the Academy ratio to CinemaScope, all of which he mastered. An even greater honor than his two Oscar wins came his way. In 1949, when he was chosen to shoot test footage for the proposed comeback of the great Greta Garbo in the proposed movie "La Duchesse de Langeais," such was his reputation.

Sanora Babb Wong Howe wrote after his death, "My husband loved his work. He spent all his adult life from age 17 to 75, a year before his death, in the motion picture industry. When he died at 77, courageous in illness as in health, he was still thinking of new ways to make pictures. He was critical of poor quality in any area of film, but quick to see and appreciate the good. His mature style was realistic, never naturalistic. If the story demanded, his work could be harsh and have a documentary quality, but that quality was strictly Wong Howe. If the story allowed, his style was poetic realism, for he was a poet of the camera. This was a part of his nature, his impulse toward the beautiful, but it did not prevent his flexibility in dealing with all aspects of reality."

His greatest asset to film may have been his adaptability, the many ways in which he could vary his aesthetic in service of a story. Howe initially fought the notoriously gimmicky John Frankenheimer over his desire to use a fish-eye lens for "Seconds." Subsequently, Howe used the lens masterfully to convey the psychological torment of the protagonist, locked in a beyond-Kafkaesque nightmare that simply relying on sets and lighting couldn't bring across. He had made it work by adapting his aesthetic to the needs of the story and its characters, in service to his director.

Howe's work recently was given retrospectives at the 2002 Seattle International Film Festival, and in San Francisco in 2004, a rare honor for a cinematographer. It is testimony to his continuing reputation, more than a quarter century after his death, as one of the greatest and most innovative lighting cameramen the world of cinema has ever known.

Perhaps the greatest honor that can be bestowed on James Wong Howe is that this master craftsman, a genius of lighting, refutes the auteur theory, which holds that the director solely is "author" of a film. No one could reasonably make that claim on any picture on which Howe was the director of photography.

Matthew Ashford

Matthew Nile Ashford was born on January 29, 1960, in the town of Davenport, Iowa. He is the third youngest [youngest boy] of eight kids. He has four brothers and 3 sisters, and in descending order their names are: Dave [6/4], Jeff [6/4], Phil [10/1], Teresa [4/16], Randy [8/9], Matt [1/29], Susie [3/13], and Sally [9/16]. When he was 12 years old, his sisters took him to auditions for a local play, and it was there that he was bitten by the acting bug. A year later, the family moved to Fairfax, VA, where Matthew attended Hayfield High and continued to involve himself in local theatre as well as school productions. After graduation, Matthew attended the highly accredited North Carolina School of the Arts in Winston-Salem. During the summer months, he and a friend worked as street performers in Myrtle Beach, SC doing mime, magic, juggling, improv. Eventually, he joined the Ragamuffin Magic & Mime Company where he earned his first professional paycheck. Soon after graduating from NC School of the Arts, in 1982, with a B.F.A. in Theatre, he followed his star to New York City; it was full of opportunities, and it was still only a train ride from mom. Matthew was not in town long before he was put under contract by ABC and cast as Drew Ralston on One Life to Live (1982-83). Sadly, Drew was killed in a flower shop on the eve of his wedding. After his year on OLTL, Matt toured with a troupe performing "Member of the Wedding," which soon led to his second soap, Search for Tomorrow. Matt played Cagney McCleary, with brothers John Forsythe and 'Jeff Meek', from 1983 until the show was canceled in December of 1986. Matt quickly made the role of "Jack" his own and won several awards for his portrayal of the popular Days' character including Soap Opera Digest's Best Villain in 1989, a Super Couple (1991) and Best Wedding (1992) award with Melissa Reeves, as well as the Best Comedic Performance award in 1992. Strangely, the birth of Matthew and Christina's daughter Grace seemed to coincide with the birth of Jack's television daughter, Abigail. Little Grace was born on June 15, 1992. Matt left Days of Our Lives within the following year, in September of 1993, after six years as Jack Deveraux. He remains the only true "Jack" in the hearts of many. In 1997, he and his wife Grace had a second child -- a daughter Emma. During his time off from the soaps, Matt took the opportunity to get involved with live theatre again. He joined the prestigious Interact Theatre Company, headed by former co-star Marilyn McIntyre (ex-Jo Days). He remains active in the troupe, despite his daytime schedule.

Don Dubbins

This boyish-looking New York-born actor of film and (especially) TV was born in 1928 and signed by Columbia at the onset of his teen career. Also known as Donald Dubbins, he started off playing earnest young cadet types in the war films From Here to Eternity (as a young bugler) and The Caine Mutiny. It was superstar James Cagney who took a distinct liking to the rookie actor and prominently displayed him in two of his subsequent films. In These Wilder Years, Dubbins played Cagney's long-lost adopted son and, in the western Tribute to a Bad Man, he forms an unlikely romantic triangle with cattle boss Cagney and senorita Irene Papas. He also was at the mercy of Jack Webb's title character as a private in the Dragnet-styled military film The D.I.. He subsequently played a frequent suspect on several episodes of the Dragnet 1967 series. Finishing up the 1950s, he was a part of the cast in the Jules Verne sci-fi picture From the Earth to the Moon.

Although Dubbins never became a box office name, he certainly was a reliable asset on TV and was seen in a host of character roles over the years, not to mention a good number of smaller parts in such films as The Prize and The Learning Tree. A character player adept at both good guys and bad guys, he retired completely in the late 1980s after filming episodes of Dynasty, Highway to Heaven and Knots Landing. He succumbed to cancer less than a decade later in 1991 at the age of 63.

Christine Vienna

Called A Supermom and A Sexy Martha Stewart rolled into one Christine Vienna is truly a Ray of Sunshine in Business as well as in her personal life. Christine is a Personal Development & Self Confidence Expert. She has been teaching all areas of personal Development, Public Speaking, and Self Confidence to tweens, teens, adults and seniors encouraging them to become more self confident so they can truly Love Their Lives.

As a child Christine started in the entertainment industry as a dancer performing in NYC cabarets and off Broadway Productions for such talents as James Cagney & Debbie Allen. Christine graduated from RBR Performing Arts Academy majoring in dance and minoring in Theater. Christine has worked as a print model, Spokesmodel, host and actress. She is a current member of both The Screen Actors Guild and The American Federation of Radio and Television Artists.

Giving back is always very important to Christine so she is not only quite a philanthropist but an active member of Peta and The Humane Society. She has also done fund raisers for Breast Cancer Awareness, MS, and Camp Sunshine. Christine has been a guest speaker at a University in NYC as well.

According to Christine Vienna the most important venture by far has been being a dedicated single mama to her beautiful daughter, two Chihuahua's, and her naked cat. Family comes first. Managing career around motherhood has been a challenge well worth the time and effort. She says, Anything can be done with a positive attitude, some hard work and a smile.

Jeanne Cagney

Dark-haired beauty Jeanne Carolyn Cagney was born in New York City, New York on March 25, 1919 - just a few months after the end of World War I. She and her four brothers - including James Cagney and William Cagney - were raised by her widowed mother. Jeanne majored in French and German during her years at Hunter College High School, and starred in plays produced by the Hunter College of City College of New York. Upon graduating from college, she studied acting at the Pasadena Playhouse in California.

She began her movie career in 1939, with a role in the obscure comedy All Women Have Secrets. This succeeded an appearance on Bing Crosby's radio program. However, she did not become known until three years later, when she acted in the highly-acclaimed biographical musical Yankee Doodle Dandy alongside her brother, James (who won an Academy Award for his performance as George M. Cohan). Regrettably, Jeanne only made sporadic appearances in film and television until her retirement from acting in 1965. Notable movies include Quicksand - in which she played a femme fatale - and the Marilyn Monroe thriller Don't Bother to Knock. Jeanne also made three more films with her brother James (The Time of Your Life, A Lion Is in the Streets, and Man of a Thousand Faces), and, in 1948, appeared on stage in a production of 'The Iceman Cometh'.

Jeanne was married to actor Ross Latimer from 1944 to 1952. She later wed Jack Sherman Morrison, a faculty member in theater arts at UCLA, in 1953, with whom she had two daughters: Mary and Terry. Jeanne and Morrison ended their marriage in 1973.

Jeanne Cagney was sadly diagnosed with lung cancer later on in her life, and died of the disease on December 7, 1984. She was 65. While not a household name, Ms. Cagney is remembered today among modern-day aficionados of 1940s and 1950s cinema.

Lloyd Bacon

One of the workhorses in Warner Brothers' stable of directors in the 1930s, Lloyd Bacon didn't have a career as loaded with classic films as many of his more famous contemporaries. What few "classics" he had his hand in (42nd Street, Footlight Parade) are so overshadowed by the dazzling surrealistic choreography of Busby Berkeley that casual film buffs today often forget they were actually directed by Bacon. While his resume lacks the drama of failed productions and tales of an unbridled ego, he consistently enriched the studio's coffers, directing a handful of its biggest hits of the late 1920s and 1930s. Bacon's career amounts to that of a competent--and at times brilliant--director who did the best with the material handed to him in assembly-line fashion.

Lloyd Bacon was born in San Jose, California, on January 16, 1890, into a theatrical family (his father was Frank Bacon, a playwright and stage actor). His parents enlisted all the Bacon children onto the stage. Despite having a strong interest in law as a student at Santa Clara College, Lloyd opted for an acting career after appearing in a student production of "The Passion Play." In 1911 he joined David Belasco's Los Angeles Stock Company (with Lewis Stone), touring the country and gaining good notices in a Broadway run of the hit "Cinderella Man", and gaining further experience during a season of vaudeville. He switched gears in 1915 and took a stab at silent Hollywood, playing the heavy in several of Gilbert M. 'Broncho Billy' Anderson's shorts and pulling double duty as a stunt man. With America's entry into World War I in 1917, Bacon enlisted in the Navy and was assigned to the Photo Department. This began a lifelong admiration for the service and might explain the Navy being a favorite recurring theme in many of his films.

After the war's end Bacon moved from Mutual (Charles Chaplin's studio at the time) to Triangle as a comedy actor. It was at this point that he got his first taste of directing-- he had let everyone at the studio know he had an interest in helming a picture, and when the director of a now forgotten Lloyd Hamilton comedy short fell ill, Bacon was given his chance. Constantly moving, he joined tightwad producer Mack Sennett as a gag writer. Sennett, sensing a bargain, happily accommodated Lloyd's desire to become a full-time director by early 1921. The Sennett studio was already in an irreversible decline during Bacon's tenure there but it allowed the novice director to gain a wealth of experience. He apprenticed for Sennett until joining Warner Brothers in 1925, an association that would last a remarkable 18 years and begin when the working-man's studio was building a strong stable of contract directors that included Michael Curtiz, Alan Crosland, John G. Adolfi and Mervyn LeRoy.

Although Lloyd never became known for a particular style other than a well-placed close up, his ability to bring in an entertaining film on time and within budget earned him such enormous respect from the five Warner Brothers that he was soon handed control over important projects, including The Singing Fool, Al Jolson's follow-up to The Jazz Singer, which grossed an unheard-of (for Warners, at least) $4,000,000 in domestic receipts alone-- the studio's #1 hit for 1928. Bacon was rewarded by becoming the highest paid director on the studio lot, earning over $200,000 a year throughout the Depression. He was called upon to direct the studio's big-budget production of Moby Dick, which garnered good notices, but it's a version that's barely remembered today.

The 1930s saw Bacon assigned to the assembly line; aside from the Busby Berkeley-choreographed films, he directed many of James Cagney's crowd-pleasing two-week wonders, including Picture Snatcher (Cagney once remarked that the schedule on that picture was so tight that, one time after he and the cast had rehearsed a particular scene, Cagney said, "OK, Lloyd, are you ready to shoot?" Bacon grinned and said, "I just did!") and The Irish in Us. As a reward, he was occasionally afforded more time and money on productions such as Here Comes the Navy and Devil Dogs of the Air. He also directed Cagney's return effort after his ill-advised move to cheapjack Grand National Pictures after one of his periodic salary disputes with studio head Jack L. Warner-- the badly miscast if frenetic Boy Meets Girl. This was one of Cagney's least critically acclaimed Warner Brothers films of the 1930s, but a smash hit for the studio.

During his years at Warners, Bacon gained a reputation as a clothes horse, the dapper director arriving on the set dressed to the nines, wearing expensive hats that he would hurl around the set when expressing his dissatisfaction (he ruined a lot of hats) at an actor's performance or missed cue. Bacon continued to turn out profitable films for the studio until moving to 20th Century-Fox in 1944 (a logical move, since the recently discharged Darryl F. Zanuck knew Bacon from his early days at Warners). He stayed at Fox until 1949, then bounced among Columbia, Fox, Universal and finally the chaotically-run RKO in 1954.

He worked virtually until his death from a cerebral hemorrhage at age 65.

Brian Hall

Actor Brian Hall was best known for his role as Terry the cook in the BBC comedy series Fawlty Towers. He began acting while still in his teens in amateur shows where his burly frame made him ideal casting for villains and heavies.

After leaving school he worked as a taxi driver before he was spotted by theatrical agent Richard Ireson who persuaded him that his talent lay in theatre.

He went on to appear in stage plays at The Royal Court Theatre in London, notably in Peter Gill's production of Crete and Sergeant Pepper and at the Royal Shakespeare Company he starred in Afore Night Comes, directed by Ron Daniels.

With John Chapman he co-wrote Made It Mad (based on the famous James Cagney line in the film White Heat) which was staged at the Royal Court as well as Bit of Business, co-written and directed with John Burgess at the National Theatre.

He had a highly successful TV career, notably in series such as Softly Softly (as the corrupt police officer Sergeant Ted Drake).

He played a bodyguard to Bob Hoskins in the cult gangster classic film The Long Good Friday, the same year he was cast as a villain in McVicar.

He struck up a close friendship with the actor John Cleese when they appeared in the BBC comedy series Fawlty Towers. Some years after the series had finished Cleese sent Hall a personally signed autographed picture as a joke. Hall wrote back and demanded a signed Rolls-Royce car instead. Three day later, one arrived in the post - it was a children's toy.

In 1994 he was diagnosed as having cancer.

Frankie Darro

Born into a show-business family - his parents were circus aerialists - Frankie Darro appeared in his first film at age six. Due to his small size and youthful appearance, he played teenagers well into his 20s. Always a physical performer, Darro often did his own stunts, many times out of necessity - his small stature made it difficult to find stunt doubles his size. He was an accomplished horseman and, in addition to westerns, made several films where he played jockeys. In 1933 he played the lead as a troubled teen in a major film for Warner Brothers :"Wild Boys Of The Road". It is a pre code film with a realistic look at "The Great Depression" , from the point of view of the youth of the time. This film seems to have been rediscovered only recently and has received critical acclaim.That same year, he played a troubled youth in the James Cagney classic, "The Mayor Of Hell". Later in 1935, he had a key role in the cult serial classic' "The Phantom Empire"(1935). As Darro got older, however, he found it increasingly difficult to secure employment, and by the late 1940s was doing uncredited stunt work and bit parts. He had a recurring role on The Red Skelton Hour, unrecognized by his fans, he played "Robby The Robot" in the groundbreaking sci-fi film "The Forbidden Planet" (1956), though Marvin Miller, best remembered as Michael Anthony of TVs "Millionaire"(1955-60), was the robot's voice. After that Frankie appeared sporadically in films and on TV . .

Jo Ann Marlowe

Jo Ann Marlowe was born Jo Ann Mares in Schuyler, NE in 1936 to Edward and Theora Mares.

Jo Ann was discovered on a family vacation in Hollywood at age 4 by a Warner Brothers director in a restaurant. The family relocated to California and Jo Ann took the stage name, Jo Ann Marlowe.

Jo Ann acted for the next 10 years in 29 motion pictures including "Yankee Doodle Dandy" which won an Oscar for James Cagney. Jo Ann played the role of 6 year old Josie Cohan. She is best known as the younger daughter, Kay, in Mildred Pierce with Joan Crawford and Ann Blythe.

Jo Ann left acting and went on to law school at Loyola University in Los Angeles and became a lawyer.

On September 10, 1960 she married John F. Dunne in California. The couple had a daughter, Kimberly who was born in 1963. The couple divorced in April 1968 in Los Angeles.

Jo Ann was a Chief Trial Lawyer for the U.S. Attorney's Office in Los Angeles until she suffered injuries in an accident in the late 1960's. Jo Ann was left in a coma until her death more than 22 years later when she died at her mother Theora Mares' home in Los Angeles.

Her mother Theora survived her until February 2011 when she passed away at age 96.

Jo Ann and her parents are buried at San Fernando Mission cemetery.

Roy Del Ruth

Roy Del Ruth was born on Oct. 18, 1895, in Philadelphia, PA. He began his Hollywood career as a writer for Mack Sennett in 1915. He began directing in 1919 for Sennett with the two-reeler Hungry Lions and Tender Hearts. In the early 1920s he moved over to features with such efforts as Asleep at the Switch, The Hollywood Kid, Eve's Lover and The Little Irish Girl (1926)_. Following several more titles, many of which were later lost in a film vault fire, he directed The First Auto, a charming look at the introduction of the first automobile to a small rural town. The film featured several elaborate sound effects for the time and was considered lost until it was restored years later. Del Ruth went on to direct a number of films before having the distinction of directing the musical The Desert Song, the first color film ever released by Warner Bros. That same year he directed Gold Diggers of Broadway, Warner's second two-strip Technicolor, all-talking feature that also became a big box-office hit for the director. Having successfully segued into the talkie era, Del Ruth directed two more two-strip color musicals, Hold Everything and The Life of the Party, before directing James Cagney and Joan Blondell in the cheerfully amoral gangster film Blonde Crazy. That same year he directed the first of three adaptation of Dashiell Hammett's famed novel, The Maltese Falcon. In that one Ricardo Cortez portrayed the roguish private eye Sam Spade, whose investigation of a murder case entwines him in a plot involving a number of unsavory types searching for a fabled, jewel-encrusted falcon. While the plot basically mirrors the 1941 remake (The Maltese Falcon, this pre-Code version featured several instances of sexual innuendo, including Bebe Daniels bathing in the nude, overt references to homosexuality and even one instance of cursing.

Del Ruth reunited with James Cagney for the crime drama Taxi! and helmed the well-regarded show-biz comedy Blessed Event. He went on to pilot a number of above average-pictures such as The Little Giant starring Edward G. Robinson, Lady Killer with Cagney again, Bureau of Missing Persons featuring Bette Davis, Upper World with Ginger Rogers and the musical comedy Kid Millions starring Eddie Cantor. He next directed Ronald Colman in his second and final appearance as Bulldog Drummond in the detective mystery Bulldog Drummond Strikes Back and steered the backstage showbiz musical Broadway Melody of 1936, starring Jack Benny and Eleanor Powell

After returning to the realm of crime for It Had to Happen with George Raft and Rosalind Russell, Del Ruth directed James Stewart in one of the actor's few musicals, Born to Dance. He followed up with Broadway Melody of 1938 before guiding ice skating star Sonja Henie through My Lucky Star and Happy Landing.

Del Ruth continued churning out product for the studios, helming competent films like The Star Maker, Here I Am a Stranger, He Married His Wife and Topper Returns. After working solo on The Chocolate Soldier, Maisie Gets Her Man, Du Barry Was a Lady and Broadway Rhythm. It may be interesting to note that Del Ruth was the second highest paid director in Hollywood from the period 1932-41, according to Box Office and Exhibitor magazine.

Del Ruth was one of seven directors on the successful Ziegfeld Follies, which featured an all-star cast of Fred Astaire, Lucille Ball, Fanny Brice, Judy Garland, Gene Kelly, Lena Horne, Red Skelton and William Powell. From there he helmed the cheerfully ambitious Christmas-themed It Happened on Fifth Avenue, an appealing entertainment that was compared to It's a Wonderful Life, but did not have that film's generational resonance. Still, the musical comedy starring Don DeFore and Ann Harding was still a touching film that managed to delight. Del Ruth next directed The Babe Ruth Story, with William Bendix badly miscast as baseball legend Babe Ruth. Bending historical truths lest he offend Ruth's legacy, Del Ruth's biopic was rushed through production amidst news of the ailing Ruth's declining health. Even Del Ruth remained unsatisfied with the results.

He directed George Raft again in the film-noir crime drama Red Light, Milton Berle and Virginia Mayo in the comedy Always Leave Them Laughing and James Cagney in the vibrant The West Point Story. Following a pair of mediocre Doris Day musicals, Starlift and On Moonlight Bay, Del Ruth's career began to slow to basically one project a year, with Stop, You're Killing Me and the James Cagney military musical About Face. He went on to direct Jane Powell and Gordon MacRae in Three Sailors and a Girl, then took a short excursion into the new 3D process with the horror film Phantom of the Rue Morgue with Karl Malden.

Away from the director's chair for the next five years, Del Ruth returned to helm the low-budget horror picture The Alligator People, a bizarre tale about humans being partially transformed into alligators in the Deep South, a picture that would seem more suited to Roger Corman than Del Ruth. His ended his career with the misfire Why Must I Die?, apparently made to cash in on the success of the better known Susan Hayward film I Want to Live!.

Roy Del Ruth died a year later on April 27, 1961, at 67 years old from a heart attack.

Panchito Gómez

Panchito Gómez has been working in entertainment since the age of 5. He played Antonio, one of the kids on Sesame Street Season 3 becoming the first child performer to receive billing in the credits. Gómez joined the show in 1971, when he was eight years old. Gómez was born in New York City and has appeared in several films and television including Triangle, a 1969 English-language film shot in Puerto Rico, Pepito, a 1970 Spanish-language film made in Colombia, and The Street of the Flower Boxes, an NBC special that aired in 1971. As a teenager and young adult, Gómez later played a variety of hoods and Latino gang members on Baretta, CHiPs, Simon & Simon, Barney Miller, Cagney & Lacey, and Hill Street Blues. Gomez's film work includes Selena and Mi Vida Loca.Gómez's credits also include guest spots on NYPD Blue in 2002, and CSI: Miami in 2003 and most recent short film "Unintentional Lie". He is also producer at Coker Productions Inc.

William Cagney

William (Bill) Cagney (producer brother of star James Cagney) was almost a dead ringer for his, in front of the camera, more famous brother. When first wife Boots' younger sister Viola "Bodie" (Mallory) Avinger gave birth to identical twin boys Cleveland (Cleve) and Steven (Steve) Lewis on February 19, 1941 - Boots Mallory Cagney wanted twins like her middle sister and so she and Bill Cagney adopted fraternal twins Jill and William shortly after that.

James Cagney Jr.

Son of the late-great actor, James Cagney, James Jr. was adopted along with sister Cathleen (nickname "Casey") by the senior Cagney and wife 'Bill' in theearly forties. James Jr. pre-deceased both his parents, dying of a heart attack in the early eighties. His appearance in "The Gallant Hours" as an infantryman was accompanied by a similarly brief appearance of director Robert Montgomery's son, Bob Jr.

William Keighley

William Keighley's professional career spanned three distinct mediums: the theatre, motion pictures and, finally, radio. Initially trained as a stage actor and Broadway director, he arrived in Hollywood shortly after the advent of sound, landing a job with Warner Brothers (where he spent most of his career) as an assistant director and dialog director before helming his first film there in 1932. Keighley's gangster films of the period, such as 'G' Men and Bullets or Ballots, are models of the kind of fast-paced, tightly made, exciting films that Warner's specialized in--and which kept the cash flowing in during the studio's devastating losses of the period. Interestingly, although his career is closely associated with the meteoric ascent of James Cagney, the two men did not particularly care for each other, as Cagney was somewhat put off by what he felt were Keighley's phony European affectations (something the director acquired during his tenure on Broadway in the early 1920s and which would carry over into his later career in radio). However, much like the working relationship between Errol Flynn and director Michael Curtiz (although far less volatile), both Cagney and Keighley did some of their best work together.

Keighley also directed comedies, the best of which is The Man Who Came to Dinner. He was assigned by Warners to its prestigious Technicolor epic The Adventures of Robin Hood with Flynn (although initially it was to be with a wildly miscast Cagney in the lead!), but following several weeks of shooting he was replaced by Curtiz (although receiving co-director credit) when studio executives thought that he was taking too long, they weren't satisfied with the film's pace and the costly epic--the most expensive picture in Warners history up to that time--was not going in the direction they thought it should. Keighley's film output declined in the late 1940s and early 1950s, roughly coinciding with his newfound interest as a radio host (his aristocratic voice was ideal for the medium) and his films met with less success, although he did turn out a crackerjack crime drama, The Street with No Name. He retired from directing after his last film, The Master of Ballantrae--a beautifully shot but somewhat lumbering swashbuckler with an out-of-shape Errol Flynn--and he and his wife, actress Genevieve Tobin, moved to Paris, France, after he left CBS Radio in 1955.

Pamela Rivers

Does Pamela look familiar? Pamela A. Rivers has been in 40+ films surrounding the USA's Tri-state area of New Jersey, Philadelphia PA & New York and enjoys opportunities there plus those in GA, Washington DC, Florida, California, Las Vegas, Hawaii and Europe. Her face has graced magazines of Europe and the USA; her voice over work is heard in the USA and Europe. She's a world traveler! She has a Lead role in Sci-fi Horror AGAIN and The 1800s Vampire Western entitled SHOOT 'EM HANG 'EM BURN 'EM. ( facebook.com/SHOOTEMHANGEMBURNEM ) She is cast in the upcoming TV Series: BIG SKY (BigSkyTVshow.com) and Trafico, American Crime Drama; has been guest on CInda Youdan's Fashion Suite, CNN, PatMedia, Comcast, Madhouse TV plus other TV Shows and awaits the completion of THE PRINCE OF BOLLYWOOD, her first Bollywood feature film.

Pamela Rivers is no stranger to Big Screens-- starting with modeling more than 20 years ago commencing as a young child. Ms. Rivers has played actress recently in Feature Films along side Navid Negahban (American Sniper (2014), Homeland, 24, Lost, CSI: Miami, Law & Order); Ken Davitian (Borat, Meet the Spartans); Oscar & Golden Globe nominated Sally Kirkland; Mary Apick (Homeland, The Right Stuff, The REAL Shahs of Beverly Hills); Joanne Baron (Law & Order: Special Victims Unit; Spider Man 2); Martin Kove (Rambo-Part 2, Cagney & Lacey, The Karate Kid); Oscar & Golden Globe nominated & award winner Eric Roberts (The Dark Knight (2008), The Expendables (2010)); Joe D'Onofrio (Goodfellas (1990), Spider-Man (2002); Paul Sorvino, Vincent Pastore, Lenny Venito, Tracey Birdsall; Bill Sorvino; Eric Etebari, Marko Caka, Brett Azar just to name a few.

Ms. Pamela Rivers comes from "Royalty en Europe" per a Beauty Queen of Buda Pest and is a world traveler boasting 21 countries; once jumped off a cliff, is a multi-talented Actress, Producer, Director, Voice Over Actress, model plus an avid writer and still photographer and cinematographer. Ms. Rivers is an experienced Casting Director who loves doing so intuitively!

Pamela Rivers has written children's books which won her writing awards at the ripe age of 9, which is around the time she started her photography career. Ms. Rivers was the Assistant Director on an 4-time Award-Winning Film plus 4 nominations; many films that she is in have won numerous awards.

Her voice is heard on radio, TV and web as both female and male characters, adult and child voices, corporate videos plus cartoon animation adventures including theatre group on the West and East Coast plus Europe and other countries. Ms. Pamela Rivers holds a BA: Psychology with Honors Marketing and her university schooling includes learning the craft in Shakespeare's birth place; Stratford-upon-Avon, amidst the Royal Shakespeare Company in a market town and civil parish in south Warwickshire, England with more than 800 years of history. At that time, she also studied British Poetry and British and American Photography.

Her studies include filmmaking, screenwriting and film editing in addition to acting-- for TV commercials, film, and Improv. with coaches of stage & screen. She is a professional event host, event organizer/professional meeting & event planner. Ms. Rivers is also a self-taught creative organic healthful chef and baker plus Super-Taster who is passionate about being a Fierce Actress who is motivated by Creativity, Peace and Positivity. In addition to being a published photographer, Ms. Rivers is a volunteer teacher and her own books, feature and documentaries are in-progress. Watch Pamela Rivers! And yes, she has pretty feet too!

Frank Patton

Frank Patton is known for his work on 21 in (2008)with Kevin Spacey and Las Vegas (TV Series) in(2003)with James Caan and Ocean's Eleven in (2001) with George Clooney and Out To Sea in(1997) with Walter Matthau and Last Action Hero in(1993)with Arnold Schwarzenegger and The Munsters Today (TV Series) in (1989-1991)with John Schuck and The Equalizer (TV Series)in (1985-1988) with Edward Woodward and Death Wish 3 in(1985) with Charles Bronson and Miami Vice (TV Series) in (1985) with Don Johnson and Ghostbusters in (1984) with Bill Murray and Amityville II: The Possession in(1982) with Burt Young and Ragtime in(1981) with James Cagney.

Andrew Hunsicker

In 1983, Andrew was accepted into the American Academy of the Dramatic Arts summer program. He didn't go. And he regretted that decision.

Over the past 30 years, through one lovely marriage, four beautiful children, two picket fences, one long corporate career, two stints in rehab and countless hours of study with great acting teachers such as Mike Lemon, Drucie McDaniel and Kenneth McGregor, Andrew came to learn that the key to acting is the same as the key to life. And that is, as James Cagney said, "Know your lines, show up on time, look them in the eye and tell the truth."

Since late 2013, Andrew has been back gratefully pursuing his dream and has had the pleasure of working on over 100 projects including TV, films (short and feature length), music videos, commercials, and voice over work.

Boots Mallory

Patricia Boots Mallory was raised in Mobile, Alabama. She was discovered by Florenz Ziegfeld Jr., where she got her start in show biz. A tall, thin, natural blond teenager, she caught his keen eye. Her career began in the era of early talkies after the silent movie era. When Boots' younger sister, Viola "Bodie" (Mallory) Avinger, gave birth to identical twin boys Cleveland (Cleve) and Steven (Steve) Lewis on February 19, 1941, Boots Mallory Cagney wanted twins like her middle sister and so she adopted fraternal twins Jill and William shortly after that. Her youngest sister, Joan Mallory Seeley, was briefly in movies and later was a singer in some of the biggest night clubs in New York. A car accident cut short her time in movies. (Joan also served a brief stint in the Ziegfeld Follies). Boots Mallory was one of a large family in Mobile, AL. Boots Mallory was married a second time to British-born actor Herbert Marshall until her untimely death from lung cancer.

Max Reinhardt

Max Reinhardt was from an Austrian merchant family (surname officially changed from the family name Goldmann to Reinhardt in 1904), and even as a boy, after his family moved to Vienna, he haunted the "Hofburg Theater" and tried to see every play. In 1890 he studied at the Sulkowsky Theater in Matzleinsdorf and started acting in Vienna and later at the "Stadtheater" in Salzburg with duties as an assistant director. But by 1894 he was invited to Berlin by Otto Brahm, director, critic, and theater manager. And that was an important juncture. Brahm had founded the "Free Stage" (1890), a theater company crusading for realism in German theater by providing a forum for so-called banned plays - the iconoclastic works, such as, those of Henrik Ibsen and Leo Tolstoy. The result was the opening of German state theater to the corpus of the modern stage by 1894. Brahm became director of the Deutsches Theater in Berlin, and there Reinhardt cut his teeth on the full theater experience, not simply acting alone, although he was much applauded for his convincing specialty of playing old men.

In 1901 Reinhardt co-founded his own - sort of avant garde - cabaret "Schall und Rauch" (Sound and Smoke) for experimental theater. It was renamed "Kleines Theater" (Small Theater) in 1902, a place for contemporary plays accented with the sort of spirit confined to cabaret entertainment. He then opened and managed his own theater "Neues Theater", now called the "Berliner Ensemble", from 1902 to 1905. These were all a part of his evolving philosophy of the harmony of stage design, costumes, language, music, and choreography as a whole unified artwork, Gesamtkunstwerk. He was influenced by several figures, August Strindberg for one, but most significantly by Richard Wagner and his operatic ideal that the director must pull together all aspects of art in his production. Reinhardt's infusion gave new dimensions to German theater. After producing more than fifty plays at Neues Theater, wherein he always found somebody to donate the money for productions, he was asked to take the helm of Deutsches Theater in Berlin for Brahm in 1905. At Deutsches Theater he embarked on big theater, employing the whole physical theater space for productions and often even spreading scenes into the audience as a means of fusing actors and audience in a total theater experience. Here was something different - making theater a democratic institution - after all the audience was the means of generating the money to do more. And Reinhardt was never avant garde enough to disdain making profit when it finally came knocking. He staged truly gargantuan productions of epic pageantry and lighting with stark colors for various dramatic effects. He staged one of his most famous early productions, his first rendition of Shakespeare's "A Midsummer Night's Dream" with a wooded forest revolving stage - turning to reveal progressive new scenes. He became famous for realistic direction of huge crowd and mob scenes.

He built the smaller Kammerspiele, a theater near Deutsches Theater in 1906. At this latter theater Reinhardt developed "Kammerspiel" theater, chamber dramas in a minimalist and naturalistic style. This followed from his expressionist influences which defied the realist dictum (though he would look to realism as well in the mix to appropriately stage some of his most ambitious efforts) and sought out more personal, expressive, and emphatic ways of coaxing the elements of theater from the conventional objective into palpable subjectivity. This all opened Reinhardt to even more experimental ideas in staging with sometimes nightmarish and vivid lighting techniques. He began introducing the expressionist plays to the German-speaking public. And he also opened a famous acting school which would function for decades turning out many of Germany's great actors and actresses. In addition there was a acting troupe that played in neutral areas of Europe during World War I. On the bill was always a cycle of Shakespeare plays. Reinhardt did everything in a big way and to accommodate a growing enthusiastic theater-going public he had expanded with a chain of theaters throughout Germany. He would manage thirty theaters and acting companies in all.

Reihardt fulfilled another of his ideals, and that was of finding the 'perfect playhouse' as a means of complementing the content and experience of a play. In 1919 he opened an enormous arena theater, the "Grosses Schauspielhaus", (Great Playhouse), but known as the "Theatre of the Five Thousand", which included a large revolving stage. Many of his biggest productions were done here, including Shakespeare and Greek plays. In the 1920s he built the two Boulevard Theaters on the Kurfürstendamm in Berlin. And yet, the privations of post-war Germany and the perennial anti-Semitic undercurrent caused a gradual loss of his big audiences. In 1920 Reinhardt went back to Salzburg and established the Salzburg Festival with composer Richard Strauss and playwright Hugo von Hofmannsthal. Annually he enjoyed staging the most apropos of morality plays, the medieval "Everyman", with the biggest set he could muster as a backdrop-the Austrian Alps in the open air before the Salzburg Cathedral. From 1924 he became director of the Theater in der Josefstadt in Vienna and renewed his Berlin popularity with a new theater called "Komoedie". His output was no less than astounding. Whereas a theater director today would not commit himself beyond two or three productions in a year, Reinhardt averaged twenty in his first twelve years. Between 1916 and 1917 he produced 48 - his highest output. Although he did few films, he was very interested in the potential of the medium. He directed four silent movies starting in 1910. One of these was the filming of one his favorite pantomime plays "The Miracle".

Reinhardt was a titan of influence and inspiration on a whole generation of theater and film directors in Germany-many who spread the word to the rest of the world. His disciples included: F.W. Murnau, Paul Leni, Ernst Lubitsch, William Dieterle , and Otto Preminger. His staging of crowds and use of lighting were frequently appropriated by the great silent filmmakers of the Weimar Republic, including 'Fritz Lang' and Murnau. And he profoundly influenced the expressionist movement in German film. He also influenced many actors with his techniques of developing expressive characterizations and movement-many would eventually come to New York and Hollywood. But by 1933 Hitler had come to power, and Reinhardt found himself falling victim to the same methods of attrition as other German Jews. So-called assimilative families of ethnic mixtures, whether high or low, were increasing placed in the same category as ethnic Jews. His theaters were `appropriated' one-by-one by the government and later his considerable properties confiscated. Later in 1933 he moved back to Austria to the "Theater in der Josefstadt" in Vienna (where Preminger had quickly become a director), hoping his native land could resist the Nazi machine. But the same pressures enveloped him there. He left for a last theater tour of Europe and arrived in America in 1934. "Midsummer" had a special significance for Reinhardt. The play was his continued inspiration of a world without ideologies - a utopia - as the theater itself was a haven from the harsh realities of the world and of the individual. The audience learned something, but they also could steep themselves without taxing imagination in the illusion of theater. "Midsummer" was always a work-in-progress for him - he had staged it twelve times up to 1934, and in fact had already brought it to Broadway in late 1927. And that was not his first trip to the US, having started presenting plays as producer, director, or writer since early 1912 there (he did ten productions in all to 1943).

He came to Hollywood in 1934 with his fame preceding him. His last tour through Europe had included lavish productions in Florence (1933) and a"Midsummer" at Oxford (1934). He offered to do the same in Hollywood at an ideal outdoor stage-the Hollywood Bowl. But the bowl had to go - it was removed to provide a view of a "forest" up the hillside - a "forest" that required tons of dirt hauled in especially for its planting, Reinhardt and his design staff erected a 250-foot wide, 100-foot deep stage. Also included was a pond and a suspension bridge or trestle constructed from the hills in back to the stage to be lined with torchbearers - with real flaming torches - for the wedding procession inserted between Acts IV and V. This lavish production included a ballet corps, children playing faeries, and hundreds of extras. The 18-year-old Olivia de Havilland was at Mills College in Oakland, participating in a school "Midsummer" production where in attendance was none other than Max Reinhardt himself. He was so impressed with her that he picked her for his extravaganza. Along with other Hollywood actors, was 14 year old veteran of the cinema 'Mickey Rooney', added to the cast as Puck. Another new arrival from Austria was classical opera composer Erich Wolfgang Korngold, musical collaborator of Reinhardt's from Vienna. Reinhardt cabled his friend to come over and help him by doing the orchestrations of Felix Mendelssohn's famous 1843 music for the Hollywood Bowl production. It was a night to remember - even for Jack L. Warner - who was not always sure of what he was seeing. But it was enough to sign Reinhardt to direct a filmed version of A Midsummer Night's Dream which began shooting in December of 1934. De Havilland was back to start her film career-Rooney for another memorable part. Otherwise, it was new cast headed by Hollywood stars 'Dick Powell' and James Cagney and boasting the best actors from Warner's impressive stock company of players. Since Reinhardt did not know Hollywood filmmaking, Warner assigned a co-director, William Dieterle, Reinhardt's acting then directing protege, from the Deutsches Theater days in Berlin. Dieterle, the disciple, had directed in Germany since 1923 and then came to Hollywood to become one of the studio's most reliable new directors. It was the beginning of Korngold's screen career as a film composer when he was hired to do the film score, an arrangement based on Mendelssohn's music used at the Bowl. But he actually mixed in much more of a variety of the composer's music to fit the play. Warner's laid down 1.5 million dollars and had its top technical staff step up to the challenge. But all-most of all, Reinhardt - was on a bit of a learning curve. Reinhardt was allowed the liberty of long play-like rehearsals instead of rehearsing scene by scene. Reinhardt's early over-emphasized stage acting directions were recalled by Cagney, who noted the actors often stood around on the sidelines whispering to one another, "Somebody ought to tell him." It was the politic Dieterle who did - setting his old master straight as to the subtle wonders of the microphone and sound film techniques. Shakespeare's lines were cut for public consumption, but there was so much to see - who would notice. In Depression era America the movie theater had taken the place of Reinhardt's all encompassing theater as a haven - and that was certainly fine with him. And here was a feast for starving souls. Reinhardt's multi-faceted approach to theater shone in all its entertaining best-through Warner stage design efficiency. There was the realist extravagance in forested backdrops, but the wonderful ballet of the coming of night with dancer Nini Theilade was distilled expressionism. Other ballet sequences featuring the fairies-children and adults - were choreographed by 'Bronislava Nijinska' (the great Nijinsky's sister). Reinhardt conjured all his and the camera's magic to create the summation of a lifetime of stagecraft. His imaginative wizardry with lighting put the remarkable glow on the faces of Cagney and his motley peasant comrades as they rehearsed - on the dancing faeries in their sequins - on the enchanted sparkle of shimmering (painted and tensiled) woods and veiled atmosphere that awaited the gaiety of Titania and the black looks of King Oberon. Everything of British and German folklore was thrown in for good measure - from gossamer English faeries and magic animals to rather frightening, rubber-masked dwarfs dressed as Teutonic gnomes and goblins. Reinhardt fuzzed and gauzed the camera lens and even put scintillating borders and covers of various sorts on the camera cowling to frame some faerie scenes as if from a Victorian painting by English artists Richard Dadd and Joseph Noel Paton-obvious influences. The movie was not a box office success, but it was Hollywood history-salute to Shakespeare? - certainly - but more so, a great event of melting pot talent and modern film making that was Hollywood coupled with profound European stage traditions that began with Max Reinhardt. He - by the way - did no more films, perhaps deciding that the real challenge was still the stage. But this one record on sound film measures the genius of the man of theater and gives today a glimpse of his creative powers and something of what his stage productions were like. He was more interested in continuing working on-stage as a director and producer, but he did not forsake Hollywood. With his second wife actress 'Helene Thimig', from a famous Viennese acting family, he split his time between the coasts. He found a Hollywood-based theater workshop and an acting school in New York. All of Reinhardt's productions were tallied - just from 1905 to 1930 - and found to total 23,374 performances of 452 plays - and still a little short. His wide-eyed exuberance for spreading out a great show was indicative of the child in Max Reinhardt. He betrayed that very comparison unashamedly: "Theater is the happiest haven for those who have secretly put their childhood in their pockets, so that they can continue to play to the end of their days."

Nora Lane

Nora Bennett Schilling was born in Chester, Illinois. She grew up and went to school near St. Louis. After modeling for a time, she went to visit a friend in California and was noticed by someone in the film industry. She successfully passed her screen test and began playing small parts in silent films in 1927, taking on the name Lane. In her 17 year career she played in over 80 films. Her notable works include her role as Zerelda in Jesse James (1927), her role as Sally in The Cisco Kid (1931), the villainous role of Goldie in Western Frontier (1935), as well as her supporting part in Jimmy the Gent (1934) which starred James Cagney and Bette Davis. She played in four Hopalong Cassidy films, two of which she was cast as the widowed ranch owner, Nora Blake. In her personal life, she was noted as an excellent swimmer and won many awards. On August 5, 1931, she and fellow actors Warner Baxter and Edmund Lowe were involved in a Southern Pacific train crash 20 miles east of Yuma, Arizona, but managed to escape uninjured. In 1941 she married Burdette Henney and retired from movies in 1944. The two lived a happy marriage until tragedy struck in 1948 when they went on a fishing trip in Bishop, California, during which Nora's husband died suddenly of a heart attack. On October 16, exactly one month after Burdette's death, the grief stricken widow shot herself dead after leaving a note to her step-son, simply saying she could not go on without him.

Rico McClinton

Rico McClinton was born in Los Angeles California.He fell in love with film at very young age watching the classic black and white films.Some of his favorite actors from the golden era are Bogart,Cagney,Bob Hope ,Alan Ladd to name just a few.He competed in Bodybuilding competitions for a number of years.He took that discipline to learning the craft of acting and what it means to tell the truth using someone else words.He said the most important thing is to tell the truth.While still working on different film and TV projects he also began to writing classes at UCLA.He believes you can always improve on your craft.You have to enjoy the process.

Robert Factor

Bob grew up wanting to be a gangster. His dream as a child was to die in the electric chair like James Cagney did in Angels With Dirty Faces. But, after spending much of his teenage years taking unwanted vacations in undesirable locales, and the demise of someone he looked up to as a role model (even though he was an ex-con, junkie, drug dealer), he came to his senses (at 19) that being an actor might be a better route to take in life, with the possibility of living a longer life & to have more control of where he lived and how long he lived there. He also realized he could play the bad guy and not get into trouble doing it. So, he played them on stage, TV and in film, including a variety of many different types of roles. He loves to become other people & the stage is his preference. Done more than 90 plays. Idolized Marlon Brando, studied with Stella Adler for 4 years, Harold Clurman, Corey Allen, Lurene Tuttle and his mentor Gabe Dell. He's written several one-act plays that have been produced He's adapted some of his plays to short films and his written one feature length screenplay, "Are You Lonesome Tonight?" in which he will play the lead role of Elvis. Met Gabe Dell, one of the Dead End Kids in "Angels With Dirty Faces in 1979 and he became his surrogate father and mentor. Corey Allen recommended he change his real name of Bob Lopez to his mother's maiden name Factor since Bob doesn't speak Spanish and was always being called in for Hispanic roles.

J.W. Smith

J.W. Smith is a producer and actor with more than 40 years of entertainment experience in motion pictures and television. J.W. grew up in Cleveland, Ohio, where he began his acting career at The Karamu House Community Theater. In the early 1970s, J.W. moved to New York City where he became a student in Uta Hagen's acting class at HB Studio and at The Henry Street Playhouse. During his stint in New York City, J.W. met and became close friends with Morgan Freeman and Bill Duke. More than four decades later, J.W. remains close friends with both Morgan and Bill, often collaborating on scripts and potential projects.

J.W. spent several successful years performing on Broadway and Off Broadway in plays including, "We Interrupt This Program," Public Theater's production of "On the Goddam Lock-in," and "So Nice, They Named It Twice." In addition to acting, J.W. produced shows in and around New York City for the Amas Repertory Theater Company.

In the early 1980s, J.W. moved to Los Angeles to pursue an acting career in film and television where he immediately landed his first job in television on "Palmerstown, U.S.A." He was selected to be a part of Paramount Pictures Associate Producers Training Program, working on several ground-breaking series for television including, "The Best of The West," "Taxi," and "Cheers." J.W. has also appeared in numerous television shows including, "L.A. Law," "Cagney and Lacey," "Reno 911," "The X-Files," and "Hill Street Blues."

Showing his range and depth of talent, J.W. has appeared in many popular feature films including, "Red Heat" (starring Arnold Schwarzenegger), "Johnny Handsome" (starring Mickey Rourke, Ellen Barkin, and Morgan Freeman), "Undisputed" (starring Wesley Snipes and Ving Rhames), "Beetlejuice" (starring Michael Keaton), "Hoodlum" (starring Laurence Fishburne, Tim Roth, and directed by Bill Duke), "The Warriors" (cult classic directed by Walter Hill), to name a few.

J.W. is President of 3000 Realms Entertainment, a production company he co-founded with friend and business partner, Bryan Behuniak. J.W.'s project in development with 3000 Realms Entertainment is "Dead Wrong," executive produced by Morgan Freeman, with producers Bryan Behuniak, James Dyer, and writer Matt Benjamin.

Barbara Peeters

Writer/director Barbara Peters was one of the few female filmmakers who specialized in entertainingly trashy low budget drive-in exploitation fare in the 70s and early 80s. Peters often worked for Roger Corman's B-flick studio New World Pictures. She made her feature debut as co-writer and co-director of the soft-core lesbian outing "The Dark Side of Tomorrow." Barbara followed this movie with the gritty distaff biker item "Bury Me an Angel," the amusingly silly comedy "Summer School Teachers," and the enjoyably inane "Starhops." Peters achieved her greatest notoriety with the wonderfully nasty horror creature feature winner "Humanoids from the Deep." Moreover, Barbara handled second unit director chores on the car chase pictures "Moving Violation" and "Eat My Dust," designed the costumes for "The Fabulous Bastard from Chicago," and was the art director on "The Young Nurses." She acted in "Gun Runner" and "Caged Desires" (Peters also wrote the script for this one). Barbara Peters ended her career directing episodes of such TV shows as "Misfits of Science," "Shadow Chasers," "Falcon Crest," "Remington Steele," "Cagney & Lacey," and "Matt Houston."

Mike Messier

Mike Messier has won 15 awards in film and TV. Messier has shared scenes with Meryl Streep & Elisabeth Shue (in Hope Springs), Wesley Snipes, Cybill Shepherd & Mario Van Peeble (in Hard Luck), and Richard Jenkins & Frances McDormand (in Olive Kitteridge).

Anders Manor, a feature horror film produced by Tommy DeNucci of Woodhaven Media, and 2Cousins Productions, features Mike as Ole Bayton in intense scenes as a roughneck hunter. Mike also was hired as the lead screenwriter on the piece, which is likely to be on all major VOD outlets by the end of the year. Mike has intense scenes with his co-stars Sully Erna (from Godsmack), Pro Wrestlers Kevin Nash and Mike Bennett, and Dexter's 'Astor' Christina Robinson, who plays the film's lead character of Amy.

Mike studied Acting and Directing under Barry Primus (of Cagney & Lacey, Boxcar Bertha, American Hustle), Steve Fierberg (DP of Entourage, Love and Other Drugs), and Tom Kane (First Assistant Director of Kramer vs. Kramer) among others. Based on these experiences, Mike created and developed both C.O.R.E. A.C.T.I.N.G. - and intense scene study and character develop class - and Tao Zen Acting, an integrated approach to acting and life/work skills.

Messier's work as Writer/Director/Producer includes Thanksgiving, which premiered at SENE Music, Arts, and Film Festival 2016 and won an Audience Choice Award for Best Regional Short. The same film also won the prestigious Princeton Tiger Award from the Nassau Film Festival at Princeton Garden Theater in May, 2017. Thanksgiving is about a man in his twenties who brings his girlfriend home to meet his until recently estranged father; only to discover his girlfriend and father once had their own romantic interlude years earlier.

Mike's writing, co-directing and co-producing with collaborators Skip Shea, Chirstine Perla and David Graziano were major ingredients to the success of the short film The Actor, based on the life of a man coming to terms with the major mistakes in his life, about the career and the lady he left behind. The film won Honorable Mention at the 2014 SENE Festival and brought some closure to the real life subject matter.

The Nature of the Flame, Mike's visual masterpiece Feminist Dream Zen Study won Best Cinematography from the inaugural My Love Michelle Short Film Festival from San Antonio, Texas in 2015 for the piece written and directed by Mike with Cinematography and editing by Chris Hunter. Messier's literary hero, the best selling author Laurence G. Boldt (Zen and the Art of Making a Living) was sent the film by Messier himself and responded "Beautifully done".

The Mediterranean Film Festival also awarded the Messier - Hunter team an award for Best Photo for their promotional photo for Disregard the Vampire: A Mike Messier Documentary. The winning photo captures Valentine (portrayed by Geena Matuson) with the sweet taste of Ginger (played by Anna Rizzo) with hair and make up by Kaitlyn Ciampa and photo editing by Ms. Matuson.

Mike recently won two Screenwriting Awards for Fight or Play Basketball, a coming of age story about a young man with a gift for sports, his single mom, and two Professional Boxer who come into their lives. The awards come from Rhode Island International Film Festival and the Mediterranean Film Festival (MedFF) . The same script was a semi-finalist in LAs CineStory script contest.

Mike's early film work with frequent collaborator DP/Editor Tim Labonte included The Wrestling With Sanity Short Film Trilogy (Sacrilege, God's Country and Rich & Famous) which won a total of three awards; Imagine News Comedy Festival Audience Choice Award, Ruff Cutz Audience Choice and Image Gazer Best Drama. It is notable that the same piece won awards in both comedy and drama.

Messier and Labonte also teamed to win Best Editing at the 2011 PEG Awards for Mike Messier Show. Mike's show had previously won Best Series in 2005 during a wild season of programming which included episodes with The Suicide Girls, Providence Roller Derby and the rock band Skid Row. Mike Messier Show was a late night staple on Rhode Island public access TV for an entire generation just before the advent of HDTV.

Other early Messier film work included Re:jected by Reality (with the unique title spelling purposely done as a commentary on emails with the RE: subject header line), a 25 minute documentary about Mike's journey through Reality Television, which was highlighted by a semi-finalist's spot on Candidate 2012, an ill-fated HBO reality show pilot, as well as adventures applying for MTV/WWE's Tough Enough and The Jerry Springer Show.

Schtick Man, was a raw drawing by Messier about the world of a stand up comedian stick figure. The piece was animated with Chris Miller, and the two combined on the voices. Oddly, although the Schtick Man series of nine animations has been often overlooked by film festivals, it received a high rating on Film Threat, and remains a crowd pleaser even to this day.

During that lost era of the mid 2000's, Mike also wrote, directed and produced a very unique film titled "Wrestling Son- Memories of my Parents Divorce", starring "Eliminator" John Kronus and Cassy Strayter as a Pro Wrestling power couple experiencing a devastating break up during a night at the matches, as chronicled by their young son, "Little Jack", played by Messier himself.

Mike wrote and directed the stage play documentary Orlandis and his Puppets without Strings and the feature length film Blood! Sugar! Sid! Ace! which both a distinct theatrical feel, both with Labonte as chief collaborator. Both pieces present a freshness on language that is both contemporary with clear bloodlines to Shakespearean language; a contrast which pleases some viewers while confounding others. When pressed, Messier claims that "the job of the artist is to challenge the audience not to play in their comfort zones. We must raise the intellect of our audience not bow down to their current level.... or worse yet, what we naively assume is their 'level'."

Blood! Sugar! Sid! Ace!, a 72 minute exploration inside the mind of a poet named Sid!, played with gusto by Laurence O' Leary, examines what happens to a middle aged man when his creations turn against him.

In 2017, Messier began work with Boston's Play In A Day Festival produced by Michael Gonza at Natick's Common Street Spiritual Center as a contributing stage play writer, director and host. Messier short plays were well received and created a buzz for Mike's use of dialogue for humor and insight.

As a stage Actor himself, Mike has performed on stage for various groups including Daydream Theater lead by Writer/Director Lenny Schwartz and Murder on Us, a comedy ensemble which performs mostly at Bravo Brassiere in Providence, Rhode Island with spot shows at all types of interesting venues. Murder On Us, lead by Writer/Director John Thayer, is a very interactive, crowd pleasing group.

Mike's TV show Messier Mantra airs in the Boston and Rhode Island cable outlets and can easily be found on vimeo. Mantra is an interview show with discussions with filmmakers, Actors and holistic healers. Messier Mantra has earned Messier praise as perhaps the next Charlie Rose or James Lipton, with each guest on the show sharing a personal "mantra" that they cite as a motivating factor in their lives and careers.

In addition, Mike's Messier Moments are on-location interviews featuring Maria Kanellis (WWE Diva of the year 2009) boxer Vinny Paz (subject matter of Martin Scorsese's Bleed for This), acclaimed stage and film Actor Jonathon Silverman among others. Mike was enlisted to produce Messier Moment for The Industry Insiders, an online group started by film produced David Gere, who has brought Messier into the fold several times for Gere's productions in Connecticut, including Blue Line, The Getter, and House Rules, all starring Tom Sizemore.

On the set of Blue Line, Mike ended up as the on-set personal security guard for the 7 foot tall Kevin Nash, a former World Wrestling Federation Champion, in a most interesting experience, which Mike chronicles on his website blog. Messier and Gere have since teamed to write The Last Fiero feature action film treatment, which was awarded as a Finalist at the Talent Factory LA's Script and Storyboard Showcase in April, 2017.

Disregard the Vampire: a Mike Messier Documentary, a most recent finished work, has been praised as "Brilliant work here by Messier... a mandatory experience" by critic Andrew Buckner of A Word of Dreams. "Disregard" is being sent to festivals who qualify for Oscar consideration for short documentary (under 40 minutes).

The piece is a auto-biography of both Mike and his talented cast and crew who forge on to create Vampire magic despite several unforeseen circumstances. Mike's personal mantra of "Never Surrender" is a theme of the documentary.

Messier is moving forward with "Distance from Avalon", which Messier claims is his most epic writing yet. Mike is working on the piece as a screenplay, stage-play and novel.

Mike's website www.mikemessier.com has frequent updates and various works.

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