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Ingrid Bergman was one of the greatest actresses from Hollywood's lamented Golden Era. Her natural and unpretentious beauty and her immense acting talent made her one of the most celebrated figures in the history of American cinema. Bergman is also one of the most Oscar-awarded actresses, tied with Meryl Streep and Frances McDormand, all three of them second only to Katharine Hepburn.

Ingrid Bergman was born on August 29, 1915 in Stockholm, Sweden, to a German mother, Frieda Henrietta (Adler), and a Swedish father, Justus Samuel Bergman, an artist and photographer. Her mother died when she was only two and her father died when she was 12. She went to live with an elderly uncle.

The woman who would be one of the top stars in Hollywood in the 1940s had decided to become an actress after finishing her formal schooling. She had had a taste of acting at age 17 when she played an uncredited role of a girl standing in line in the Swedish film Landskamp (1932) in 1932 - not much of a beginning for a girl who would be known as "Sweden's illustrious gift to Hollywood." Her parents died when she was just a girl and the uncle she lived with didn't want to stand in the way of Ingrid's dream. The next year she enrolled at the Royal Dramatic Theatre School in Stockholm but decided that stage acting was not for her. It would be three more years before she would have another chance at a film. When she did, it was more than just a bit part. The film in question was The Count of the Old Town (1935), where she had a speaking part as Elsa Edlund. After several films that year that established her as a class actress, Ingrid appeared in Intermezzo (1936) as Anita Hoffman. Luckily for her, American producer David O. Selznick saw it and sent a representative from Selznick International Pictures to gain rights to the story and have Ingrid signed to a contract. Once signed, she came to California and starred in United Artists' 1939 remake of her 1936 film, Intermezzo (1939), reprising her original role. The film was a hit and so was Ingrid.

Her beauty was unlike anything the movie industry had seen before and her acting was superb. Hollywood was about to find out that they had the most versatile actress the industry had ever seen. Here was a woman who truly cared about the craft she represented. The public fell in love with her. Ingrid was under contract to go back to Sweden to film Only One Night (1939) in 1939 and June Night (1940) in 1940. Back in the US she appeared in three films, all well-received. She made only one film in 1942, but it was the classic Casablanca (1942) opposite Humphrey Bogart.

Ingrid was choosing her roles well. In 1943 she was nominated for an Academy Award for her role in For Whom the Bell Tolls (1943), the only film she made that year. The critics and public didn't forget her when she made Gaslight (1944) the following year--her role of Paula Alquist got her the Oscar for Best Actress. In 1945 Ingrid played in Spellbound (1945), Saratoga Trunk (1945) and The Bells of St. Mary's (1945), for which she received her third Oscar nomination for her role of Sister Benedict. She made no films in 1947, but bounced back with a fourth nomination for Joan of Arc (1948). In 1949 she went to Italy to film Stromboli (1950), directed by Roberto Rossellini. She fell in love with him and left her husband, Dr. Peter Lindstrom, and daughter, Pia Lindström. America's "moral guardians" in the press and the pulpits were outraged. She was pregnant and decided to remain in Italy, where her son was born. In 1952 Ingrid had twins, Isotta and Isabella Rossellini, who became an outstanding actress in her own right, as did Pia.

Ingrid continued to make films in Italy and finally returned to Hollywood in 1956 in the title role in Anastasia (1956), which was filmed in England. For this she won her second Academy Award. She had scarcely missed a beat. Ingrid continued to bounce between Europe and the US making movies, and fine ones at that. A film with Ingrid Bergman was sure to be a quality production. In her final big-screen performance in 1978's Autumn Sonata (1978) she had her final Academy Award nomination. Though she didn't win, many felt it was the most sterling performance of her career. Ingrid retired, but not before she gave an outstanding performance in the mini-series A Woman Called Golda (1982), a film about Israeli prime minister Golda Meir. For this she won an Emmy Award as Best Actress, but, unfortunately, she did not live to see the fruits of her labor.

Ingrid died from cancer on August 29, 1982, her 67th birthday, in London, England.

John Belushi was born in Chicago, Illinois, USA, on January 24, 1949, to Agnes Demetri (Samaras) and Adam Anastos Belushi, a restaurant owner. His father was an Albanian immigrant, from Qytezë, and his mother was also of Albanian descent. He grew up in Wheaton, where the family moved when he was six. Though a young hellion in grade school, John became the perfect all-American boy during his high school years where he was co-captain of the Wheaton Central High School football team and was elected homecoming king his senior year. He also developed an interest in acting and appeared in the high school variety show. Encouraged by his drama teacher, John decided to put aside his plans to become a football coach to pursue a career in acting.

After graduation in 1967, John performed in summer stock in rural Indiana in a variety of roles from "Cardinal Wolsey" in "Anne of a Thousand Days" to a comic detective in "Ten Little Indians". In the fall of his freshman year at the University of Wisconsin at Whitewater, John changed his image into a bad-boy appearance by growing his hair long and began to have problems with discipline and structure of attending classes.

Dropping out of Wisconsin, John spent the next two years at the College of DuPage, a junior college a few miles from his parents' Wheaton home, where his father began persuading him to become a partner in his restaurant, but John still preferred acting. While attending DuPage, John helped found the "West Compass Players", an improv comedy troupe patterned after Chicago's famous "Second City" ensemble.

In 1971, John made the leap to "Second City" itself where he performed in various on-stage comic performances with others, who included Harold Ramis and Joe Flaherty. John loved his life at "Second City" where he performed six nights a week, perfecting the physical "gonzo" style of comedy he later made famous.

A year later, John and his live-in girlfriend from his high school years, Judith Belushi-Pisano, moved to New York because John had joined the cast of National Lampoon's Lemmings, an off-Broadway rock musical revue that was originally booked for a six-week run but played to full crowds for nearly 10 months.

In 1973, John was hired as a writer for the syndicated National Lampoon's Radio Hour which became the National Lampoon Show in 1975. John's big break came that same year when he joined the ground-breaking TV variety series Saturday Night Live (1975) which made him a star. The unpredictable, aggressively physical style of humor that he began on "Second City" flowered on SNL.

In 1978, while still working on Saturday Night Live (1975), John appeared in the movie Goin' South (1978) which starred and was directed by Jack Nicholson. It was here that director John Landis noticed John and decided to cast him in his movie National Lampoon's National Lampoon's Animal House (1978). John's minor role as the notorious, beer-swilling "Bluto" made it a box-office smash and the year's top grossing comedy. Despite appearing in only a dozen scenes, John's performance stole the movie, which portrays college fraternity shenanigans at a small college set in the year 1962.

In 1979, John along with fellow SNL regular Dan Aykroyd quit the series to pursue movie projects. John and Dan Aykroyd appeared in minor roles in Steven Spielberg's financially unsuccessful 1941 (1979) and, the following year, in John Landis' The Blues Brothers (1980). Around this time, John's drug use began escalating. Cocaine, which was ubiquitous in show-business circles in the 1970's, became his drug of choice. After he first experimented with cocaine in the mid 1970s, John almost immediately became addicted to it. His frequent cocaine sniffing binges became a source of friction between him and Judy, whom he married in 1976.

John's love for blues and soul music inspired the "Blues Brothers". He and Aykroyd first appeared as Joliet Jake and Elwood Blues, a pair of white soul men dressed in black suits, skinny ties, fedora hats and Rayban sunglasses, as a warm-up act before the telecasts of Saturday Night Live (1975). Building on the success of their acts and the release of their album "A Briefcase Full of Blues", John and Dan Aykroyd starred in the movie, which gave John a chance to act with his favorite musical heroes including Ray Charles, James Brown and Aretha Franklin.

Although John's reputation for being an off-screen party animal is legendary, his generous side is less well known. Using some of his money, he bought his father a ranch outside San Diego for him to live. John helped set up some of his Chicago friends with their own businesses and even financially helped his younger brother, Jim Belushi, who followed his older brother's path to both "Second City" and Saturday Night Live (1975).

In 1981, John appeared in the movie Continental Divide (1981), playing a hard-nosed Chicago newspaperman who finds romance in Colorado with eagle expert Blair Brown. That same year, John and Dan Aykroyd appeared again in the movie Neighbors (1981), which gave them a chance to reverse roles, with John playing a straight-arrow family man whose life is turned upside down when a wild family man (Aykroyd) moves in next door.

In January 1982, John began work on the screenplay for another movie to be titled "Noble Rot". Also, John had checked into a bungalow at the Chateau Marmont, a popular celebrity hotel in Los Angeles. John's drug use had been steadily increasing for over a year now, which alarmed his wife and friends, but he continued to promise Judy that he would quit someday. On March 5, 1982, John Belushi was found dead in his hotel room at the age of 33. The local coroner gave the cause of death as a lethal injection of cocaine and heroin. Several years later, John's drug dealing/drug user companion during his final weeks, Cathy Evelyn Smith, was tried and sentenced to three years in prison for supplying John with the drugs. Close friend James Taylor sang "That Lonesome Road" at a memorial service at Martha's Vineyard cemetery where John was buried.

On November 12, 1929, Grace Patricia Kelly was born in Philadelphia, Pennsylvania to wealthy parents. Her girlhood was uneventful for the most part, but one of the things she desired was to become an actress which she had decided on at an early age. After her high school graduation in 1947, Grace struck out on her own, heading to New York's bright lights to try her luck there. Grace worked some as a model and made her debut on Broadway in 1949. She also made a brief foray into the infant medium of television. Not content with the work in New York, Grace moved to Southern California for the more prestigious part of acting -- motion pictures. In 1951, she appeared in her first film entitled Fourteen Hours (1951) when she was 22. It was a small part, but a start nonetheless. The following year she landed the role of Amy Kane in High Noon (1952), a western starring Gary Cooper and Lloyd Bridges which turned out to be very popular. In 1953, Grace appeared in only one film, but it was another popular one. The film was Mogambo (1953) where Grace played Linda Nordley. The film was a jungle drama in which fellow cast members, Clark Gable and Ava Gardner turned in masterful performances. It was also one of the best films ever released by MGM. Although she got noticed with High Noon, her work with director Alfred Hitchcock, which began with Dial M for Murder (1954) made her a star. Her standout performance in Rear Window (1954) brought her to prominence. As Lisa Fremont, she was cast opposite James Stewart, who played a crippled photographer who witnesses a murder in the next apartment from his wheelchair. Grace stayed busy in 1954 appearing in five films. Grace would forever be immortalized by winning the Academy Award for Best Actress for her portrayal of Georgie Elgin opposite Bing Crosby in The Country Girl (1954). In 1955, Grace once again teamed with Hitchcock in To Catch a Thief (1955) co-starring Cary Grant. In 1956, she played Tracy Lord in the musical comedy High Society (1956) which also starred Frank Sinatra and Bing Crosby. The whimsical tale ended with her re-marrying her former husband, played by Crosby. The film was well received. It also turned out to be her final acting performance. Grace had recently met and married Prince Rainier of the little principality of Monaco. By becoming a princess, she gave up her career. For the rest of her life, she was to remain in the news with her marriage and her three children. On September 14, 1982, Grace was killed in an automobile accident in her adoptive home country. She was just 52 years old.

This remarkable, soft-spoken American began in films as a diffident juvenile. With passing years, he matured into a star character actor who exemplified not only integrity and strength, but an ideal of the common man fighting against social injustice and oppression. He was born in Grand Island, Hall, Nebraska, the son of Herberta Elma (Jaynes) and William Brace Fonda, who was a commercial printer, and proprietor of the W. B. Fonda Printing Company in Omaha, Nebraska. His distant ancestors were Italians who had fled their country and moved to Holland, presumably because of political or religious persecution. In the mid-1600s, they crossed the Atlantic and settled in upstate New York where they founded a community with the Fonda name.

Growing up, Henry developed an early interest in journalism after having a story published in a local newspaper. At the age of twelve, he helped in his father's printing business for $2 a week. Following graduation from high school in 1923, he got a part-time job in Minneapolis with the Northwestern Bell Telephone Company which allowed him at first to pursue journalistic studies at the University of Minnesota. As it became difficult to juggle his working hours with his academic roster, he obtained another position as a physical education instructor at $30 a week, including room and board. By this time, he had grown to a height of six foot one and was a natural for basketball.

In 1925, having returned to Omaha, Henry reevaluated his options and came to the conclusion that journalism was not his forte, after all. For a while, he tried his hand at several temporary jobs, including as a mechanic and a window dresser. Then, despite opposition from his parents, Henry accepted an offer from Gregory Foley, director of the Omaha Playhouse, to play the title role in 'Merton of the Movies'. His father would not speak to him for a month. The play and its star received fairly good notices in the local press. It ran for a week, after which Henry observed "the idea of being Merton and not myself taught me that I could hide behind a mask". For the rest of the repertory season, Henry advanced to assistant director which enabled him to design and paint sets as well as act. A casual trip to New York, however, had already made him set his sights on Broadway.

In 1928, he headed east and briefly played in summer stock before joining the University Players, a group of talented Princeton and Harvard graduates among whose number were such future luminaries as James Stewart (who would remain his closest lifelong friend), Joshua Logan and Kent Smith. Before long, Henry played leads opposite Margaret Sullavan, soon to become the first of his five wives. Both marriage and the players broke up four years later. In 1932, Henry found himself sharing a two-room New York apartment with Jimmy Stewart and Joshua Logan. For the next two years, he alternated scenic design with acting at various repertory companies. In 1934, he got a break of sorts, when he was given the chance to present a comedy sketch with Imogene Coca in the Broadway revue New Faces. That year, he also hired Leland Hayward as his personal management agent and this was to pay off handsomely.

It was Hayward who persuaded the 29-year old to become a motion picture actor, despite initial misgivings and reluctance on Henry's part. Independent producer Walter Wanger, whose growing stock company was birthed at United Artists, needed a star for The Farmer Takes a Wife (1935). With both first choice actors Gary Cooper and Joel McCrea otherwise engaged, Henry was the next available option. After all, he had just completed a successful run on Broadway in the stage version. The cheesy publicity tag line for the picture was "you'll be fonder of Fonda", but the film was an undeniable hit. Wanger, realizing he had a good thing going, next cast Henry in a succession of A-grade pictures which capitalized on his image as the sincere, unaffected country boy. Pick of the bunch were the Technicolor outdoor western The Trail of the Lonesome Pine (1936), the gritty Depression-era drama You Only Live Once (1937) (with Henry as a back-to-the-wall good guy forced into becoming a fugitive from the law by circumstance), the screwball comedy The Moon's Our Home (1936) (with ex-wife Sullavan), the excellent pre-civil war-era romantic drama Jezebel (1938) and the equally superb Young Mr. Lincoln (1939), in which Henry gave his best screen performance to date as the 'jackleg lawyer from Springfield'. Henry made two more films with director John Ford: the pioneering drama Drums Along the Mohawk (1939) and The Grapes of Wrath (1940), with Henry as Tom Joad, often regarded his career-defining role as the archetypal grassroots American trying to stand up against oppression. It also set the tone for his subsequent career. Whether he played a lawman (Wyatt Earp in My Darling Clementine (1946)), a reluctant posse member (The Ox-Bow Incident (1942), a juror committed to the ideal of total justice in (12 Angry Men (1957)) or a nightclub musician wrongly accused of murder (The Wrong Man (1956)), his characters were alike in projecting integrity and quiet authority. In this vein, he also gave a totally convincing (though historically inaccurate) portrayal in the titular role of The Return of Frank James (1940), a rare example of a sequel improving upon the original.

Henry rarely featured in comedy, except for a couple of good turns opposite Barbara Stanwyck -- with whom he shared an excellent on-screen chemistry -- in The Mad Miss Manton (1938) and The Lady Eve (1941). He was also good value as a poker-playing grifter in the western comedy A Big Hand for the Little Lady (1966). Finally, just to confound those who would typecast him, he gave a chilling performance as one of the coldest, meanest stone killers ever to roam the West, in Sergio Leone's classic Once Upon a Time in the West (1968). Illness curtailed his work in the 1970s. His final screen role was as an octogenarian in On Golden Pond (1981), in which he was joined by his daughter Jane. It finally won him an Oscar on the heels of an earlier Honorary Academy Award. Too ill to attend the ceremony, he died soon after at the age of 77, having left a lasting legacy matched by few of his peers.

Romy Schneider was born on 23 September 1938 in Vienna, Austria into a family of actors. Making her film debut at the age of 15, her breakthrough came two years later in the very popular trilogy Sissi (1955). Her mother, supervising her daughter's career, immediately approved Romy's participation in Christine (1958), the remake of Max Ophüls's Playing at Love (1933), where Magda Schneider once starred herself. During the shooting, she fell in love with her co-star Alain Delon and eventually moved with him to Paris. At that time, she started her international career collaborating with famous directors such as Luchino Visconti and Orson Welles. After Delon had broken up with her in 1964, she married Harry Meyen shortly after. Although she gave birth to a boy, David-Christopher, their relationship was difficult, so they divorced in 1975. Being unsatisfied with her personal life, she turned to alcohol and drugs, but her cinematic career -especially in France- remained intact. She was the first actress, receiving the new created César Award as "Best Actress" for her role in That Most Important Thing: Love (1975). Three years later, she was awarded again for A Simple Story (1978). After a short marriage to her former secretary Daniel Biasini, being the father of her daughter Sarah Biasini, she suffered the hardest blow of her life when her son was impaled on a fence in 1981. She never managed to recover from this loss and died on 29 May 1982 in Paris. Although it was suggested she committed suicide caused by an overdose of sleeping pills, she was declared to have died from cardiac arrest.

"I am too old to die young, and too young to grow up," Marty Feldman told a reporter -- a week before he died.

This beloved comedian, who poked fun at himself, as well as others, was born Martin Alan Feldman on July 8, 1934, in London, England. His parents were of Ukrainian Jewish heritage (from Kiev). He was the son of Cecilia (née Crook) and Myer Feldman, a gown manufacturer. Marty spent his childhood in the poverty-stricken London East End and left school at the age of 15, hoping for a career as a jazz trumpeter (his appearance in a Variety show earned him the title "the worst trumpeter in the world"). He had just started his comedy career, as a writer for BBC radio programs and TV shows in the late 1950s, when he married Lauretta Sullivan in January 1959 (they would stay married until his death in 1982). There's a saying: "Your face is your fortune"; Marty had received a double-whammy. His nose was mangled in his youthful years in a boxing match; his walleyed orbs were the result of both a hyperactive thyroid and a botched operation after a car accident before his 30th birthday, in 1963. American audiences first saw Marty in Dean Martin Presents the Golddiggers (1968), where he did comedy skits with Susie Ewing and the Golddiggers. He appeared in a number of movies, his most-remembered role being that of Igor (pronounced Eye-Gor) in Young Frankenstein (1974). Besides acting, he made his directorial debut in The Last Remake of Beau Geste (1977). Beloved and popular, it seemed Marty was to enjoy a long career in the entertainment field. However, he died of a massive heart attack, caused by shellfish food poisoning, while filming Yellowbeard (1983) in Mexico City, on December 2, 1982... he was only 48.

Warren Oates was an American character actor of the 1960s and 1970s and early 1980s whose distinctive style and intensity brought him to offbeat leading roles.

Oates was born in Depoy, a very small Kentucky town. He was the son of Sarah Alice (Mercer) and Bayless Earle Oates, a general store owner. He attended high school in Louisville, continuing on to the University of Louisville and military service with the U.S. Marines.

In college he became interested in the theatre and in 1954 headed for New York to make his mark as an actor. However, his first real job in television was, as it had been for James Dean before him, testing the contest gags on the game show Beat the Clock (1950). He did numerous menial jobs while auditioning, including serving as the hat-check man at the nightclub "21".

By 1957 he had begun appearing in live dramas such as Studio One (1948), but Oates' rural drawl seemed more fitted for the Westerns that were proliferating on the big screen at the time, so he moved to Hollywood and immediately stared getting steady work as an increasingly prominent supporting player, often as either craven or vicious types. With his role as one of the Hammond brothers in the Sam Peckinpah masterpiece Ride the High Country (1962), Oates found a niche both as an actor and as a colleague of one of the most distinguished and distinctive directors of the period. Peckinpah used Oates repeatedly, and Oates, in large part due to the prominence given him by Peckinpah, became one of those rare character actors whose name and face is as familiar as those of many leading stars. He began to play roles which, while still character parts, were also leads, particularly in cult hits like Two-Lane Blacktop (1971) and Bring Me the Head of Alfredo Garcia (1974).

Although never destined to be a traditional leading man, Oates remained one of Hollywood's most valued and in-demand character players up until his sudden death from a heart attack on April 3, 1982 at the age of 53. His final two films, Tough Enough (1983) (filmed in early 1981) and Blue Thunder (1983) (filmed in late 1981), were released over one year after his death and were dedicated to his memory.

Vic Morrow was born in the Bronx, New York, to Jean (Kress) and Harry Morrow, an electrical engineer. His parents were Russian Jewish immigrants. Morrow dropped out of high school at 17 to join the U.S. Navy. When he left the Navy, he used the G.I. Bill to study pre-law at Florida State. While Morrow was working on his degree in Law, he also took part in a school play and found that he preferred stage acting to courtroom acting. When he went to New York, Morrow enrolled in the Actors' Workshop to improve his skills. After graduating, he was cast in the summer stock production of "A Streetcar Named Desire". His screen debut came when he was signed by MGM to play a tough-talking, surly street punk in Blackboard Jungle (1955). The good news was that he was now in the movies, but the bad news was that he became typecast as a heavy. Disappointed with this situation, Morrow left MGM after a few years and headed back to school to study directing at USC. He made some appearances on television and in 1962 found a role that brought him fame and made him the "hero": the TV series Combat! (1962), in which he played Sgt. Chip Saunders, veteran squad leader. Due to his demands, the show quickly went from an alternating showcase between platoon leader Lt. Hanley (Rick Jason) and Sgt. Saunders to one featuring mainly Saunders. With the success of the show, Morrow put to use what he had learned at USC and directed some episodes. In 1965 he and his wife divorced, and two years later the series ended. These two events put him into a personal and professional slide. By 1969 he began almost a decade of making made-for-TV movies, with an occasional foray into features. Most of his roles, though, put him back as a "heavy", although he did have a good part as a tough L.A. cop going up against out-of-town mobsters in a two-part episode of Police Story (1973) that was later released as a telefeature. While he worked in the theater and looked forward to the big screen, most of his roles were in "B" pictures such as Dirty Mary Crazy Larry (1974) and Treasure of Matecumbe (1976). He got good reviews playing Walter Matthau's nemesis in the hit comedy The Bad News Bears (1976), but was not involved in any of the following sequels, and he seemed to be stuck in a rut of "B" features and average made-for-TV films. With the failure of his second marriage, the death of his mother and the scarcity of good parts, Morrow hit the bottle, which did his career even less good. In 1982, however, he refocused his drive and made a comeback in Twilight Zone: The Movie (1983), but was unfortunately killed on the early morning hours of July 23, 1982 in a tragic, freak accident on the set while filming a scene involving a helicopter which crashed right on top of him and two young children.

Vic was the father of Carrie Ann Morrow and actress Jennifer Jason Leigh.

Beaumont began his career in show business by perfoming in theatres, nightclubs, and on the radio in 1931. He attended the University of Chattanooga, but left when his position on the football team was changed. He later attended the University of Southern California, and graduated with a Master of Theology degree in 1946. He was visiting his son Hunter, a Psychology Professor in Munich, at the time of his sudden death.

Dominique Ellen Dunne was born in Santa Monica, California, the daughter of Ellen Beatriz Griffin Dunne and Dominick Dunne, a producer, actor, and writer. Actor Griffin Dunne is her brother. After her parents' divorce, she moved first to New York, and then to Beverly Hills. Upon graduation from high school, Dominique went to the University of Colorado to study acting, leaving after one year to pursue her career. Three weeks after arriving in Hollywood, she landed her first gig. Other roles soon followed, notably her role as Dana Freeling, the eldest daughter in Poltergeist (1982), and Dominique was soon well known in the Hollywood social scene. Well-liked by all who knew her, Dominique seemed to be at the top of the world. Then, at a party, she met John Thomas Sweeney, the chef at popular LA nightspot "Ma Maison." The two began a relationship, which turned stormy. Sweeney was uncontrollable and abusive (so abusive that Dominique did not need makeup to play the role of an abuse victim on Hill Street Blues (1981)). Dominique ended the relationship on October 30, 1982. That same night, a distraught Sweeney raced to her house, where she and actor David Packer were rehearsing a scene from V (1983), dragged her outside, and strangled her, leaving her brain-dead. Five days later, she was removed from life support and died, cutting short a brilliant career and leaving behind scores of shocked and angry loved ones.

Brenda Benet, born Brenda Ann Nelson in Los Angeles, California, on August 14, 1945, was a classic example of the modern-day Hollywood tragedy. As a television actress with good dramatic scope, she managed to piece together a wide and impressive portfolio of guest shots in a career spanning just over 16 years before taking her life at the age of 36. She spent her childhood and early teenage years feeling awkward and self-conscious because her complexion was darker than those of her siblings. Because of this, she felt that she did not fit in with her family, and often fantasized about being adopted.

Brenda attended UCLA for a brief time, majoring in languages. In 1962 she entered show business; her breakthrough role came in 1964 when she was selected to play the part of Jill McComb in The Young Marrieds (1964). After that came stints on various comedy and drama series in the '60s and '70s, usually playing ethnic, exotic types. She was probably best known for her role as the kind-hearted prostitute in Walking Tall (1973). During this time she married and divorced actor Paul Petersen. She began a relationship with Bill Bixby and moved in with him in 1969, and they married in 1971. By the late '70s, however, they were divorced.

Brenda retired from the business in the mid-'70s to raise a family, and in late 1974 she gave birth to a boy, Christopher Sean Bixby. Tragically, Christopher died in 1981 during a winter ski vacation in California. It was believed that this and her divorce from Bixby were the events which caused Brenda's life to spin out of control. On April 7, 1982, Brenda went into the bathroom of her West Los Angeles home, lit and arranged some candles in a circle on the floor and lay down. She then placed a Colt .38-cal. revolver into her mouth and pulled the trigger. She died instantly.

Larger than life, Laughtonesque, and with an eloquent, king-sized appetite for maniacal merriment, a good portion of the work of actor Victor Buono was squandered on hokey villainy on both film and television. Ostensibly perceived as bizarre or demented, seldom did Hollywood give this cultivated cut-up the opportunity to rise above the deliciously hammy arrogance that flowed through so many of his cartoonish characters. He loved to make people laugh and while he could have approached his career with more serious attention, the real money was in his madness. In the end, the actor's chronic weight and accompanying health problems took their toll -- a fatal heart attack at the untimely age of 43 -- and a wonderful actor/writer/poet/chef had exited way before his time.

Born on February 3, 1938 in San Diego, California, the son of Victor Francis Buono and Myrtle Belle (née Keller), his interest in entertainment was originally encouraged by his grandmother, Myrtle Glied (1886-1969), who had once been a vaudevillian on the Orpheum Circuit. It was she who taught Victor how to sing and recite in front of company. His initial choice of career was somewhere in the direction of medicine but the pure joy he experienced from several high school performances (playing everything from Aladdin's evil genie to Hamlet himself) led him to dismiss such sensible thinking and take on the bohemian life style of an actor.

The already hefty-framed hopeful started appearing on local radio and television stations in San Diego. At age 18, he became a member of the Globe Theater Players where he was cast in Shakespeare and the classics ["Volpone", "A Midsummer Night's Dream", "Knight of the Burning Pestle", "The Man Who Came to Dinner", "Witness for the Prosecution", "Henry IV, Part I (as Falstaff)", "As You Like It", "Hamlet" (as Claudius)].

In 1959, a Warner Bros. agent happened to scope out the talent at the Globe Theatre and caught Victor's wonderfully robust portrayal of Falstaff (a role he would return to now and then) and gave him a screen test. Looking older than he was, the studio set upon using Victor in weird and wacky ways, such as his bearded poet Bongo Benny in an episode of 77 Sunset Strip (1958). His wry and witty demeanor, fixed stare, huge girth and goateed mug was guaranteed to put him in nearly every television crime story needing an off-the-wall character or outlandish villain.

Following an unbilled appearance in The Story of Ruth (1960), Victor was intriguingly cast by director Robert Aldrich to play Edwin Flagg, the creepy musical accompanist and opportunist who tries to use one-time child celebrity Bette Davis for his own piggy bank in the gothic horror classic What Ever Happened to Baby Jane? (1962). He held his own beautifully opposite the scenery-chewing Davis and was nominated for a Best Supporting Oscar for his efforts. This role also set the tone for the increasingly deranged characters he would go on to play.

Cast as the title menace in The Strangler (1964), Victor delved wholeheartedly into the sick mind of a mother-obsessed murderer and offered a startling, tense portrayal of a child-like monster who gives new meaning to the art of "necking" with women. Director Aldrich used Victor again (albeit too briefly) for his Southern-baked "Grand Guignol" horror Hush...Hush, Sweet Charlotte (1964) this time as Ms. Davis' crazed father. Victor also showed up in The Greatest Story Ever Told (1965) starring Max von Sydow where he flamboyantly took on the High Priest Sorak role in this epic but criticized retelling of Jesus.

He enhanced a number of lightweight 1960s movies including 4 for Texas (1963), Robin and the 7 Hoods (1964), The Silencers (1966) and Who's Minding the Mint? (1967) with his clever banter and gleeful menace. The lurid title said it all when Victor gamely took on the horror movie The Mad Butcher (1971) [aka The Strangler of Vienna] wherein he played a former mental patient preying on women again. This deranged low-budget German/Italian co-production added a "Sweeney Todd" meatpie tie in.

Victor's hearty, scene-stealing antics dominated late 1960s television series. Recurring madmen included his Count Carlos Manzeppi on The Wild Wild West (1965) and King Tut who habitually wreaked havoc on Gotham City on Batman (1966). One could always find his unsympathetic presence somewhere on a prime-time channel (Perry Mason (1957), Get Smart (1965), I Spy (1965)) but his roles ended up more campy than challenging. However, one heartfelt, serious portrayal was his portrayal of President William Howard Taft in the epic miniseries Backstairs at the White House (1979). Elsewhere, he recorded a self-effacing comedy album ("Victor Buono: Heavy!") and even wrote comic poetry ("Victor Buono: It Could Be Verse". He was indeed a sought-after raconteur on daytime and nighttime talk shows.

Continuing with the theatre but on a more infrequent basis, his one-man stage shows included "Just We Three", "Remembrance of Things Past" and "This Would I Keep". He also appeared as Pellinore opposite Robert Goulet and Carol Lawrence in a 1975 performance of "Camelot" and earned minor cult status for his memorable performance in the play "Last of the Marx Brothers' Writers" in a return to the Old Globe Theatre in 1977.

The never-married actor felt compelled to conceal his homosexuality. A well-regarded gourmet chef and an expert on Shakespeare, he died of a massive heart attack at his ranch in Apple Valley, California on January 1, 1982. Before his death was announced, Buono had just been cast in the Broadway-bound play "Whodunnit?" by Anthony Shaffer. The show finally arrived in New York without him and almost a year to his death (December 30, 1982).

Above all, Rainer Werner Fassbinder was a rebel whose life and art was marked by gross contradiction. Openly homosexual, he married twice; one of his wives acted in his films and the other served as his editor. Accused variously by detractors of being anticommunist, male chauvinist, antiSemitic and even antigay, he completed 44 projects between 1966 and 1982, the majority of which can be characterized as highly intelligent social melodramas. His prodigious output was matched by a wild, self-destructive libertinage that earned him a reputation as the enfant terrible of the New German Cinema (as well as its central figure.) Known for his trademark leather jacket and grungy appearance, Fassbinder cruised the bar scene by night, looking for sex and drugs, yet he maintained a flawless work ethic by day. Actors and actresses recount disturbing stories of his brutality toward them, yet his pictures demonstrate his deep sensitivity to social misfits and his hatred of institutionalized violence. Some find his cinema needlessly controversial and avant-garde; others accuse him of surrendering to the Hollywood ethos. It is best said that he drew forth strong emotional reactions from all he encountered, both in his personal and professional lives, and this provocative nature can be experienced posthumously through reviewing his artistic legacy.

Fassbinder was born into a bourgeois Bavarian family in 1945. His father was a doctor and his mother a translator. In order to have time for her work, his mother frequently sent him the movies, a practice that gave birth to his obsession with the medium. Later in life, he would claim that he saw a film nearly every day and sometimes as many as three or four. At the age of 15, Fassbinder defiantly declared his homosexuality, soon after which he left school and took a job. He studied theater in the mid-sixties at the Fridl-Leonhard Studio in Munich and joined the Action Theater (aka, Anti-Theater) in 1967. Unlike the other major auteurs of the New German Cinema (e.g., Schlöndorff, Herzog and Wenders) who started out making movies, Fassbinder acquired an extensive stage background that is evident throughout his work. Additionally, he learned how to handle all phases of production, from writing and acting to direction and theater management. This versatility later surfaced in his films where, in addition to some of the aforementioned responsibilities, Fassbinder served as composer, production designer, cinematographer, producer and editor. [So boundless was his energy, in fact, that he appeared in 30 projects of other directors.] In his theater years, he also developed a repertory company that included his mother, two of his wives and various male and female lovers. Coupled with his ability to serve in nearly any crew capacity, this gave him the ability to produce his films quickly and on extremely low budgets.

Success was not immediate for Fassbinder. His first feature length film, a gangster movie called Love Is Colder Than Death (1969) was greeted by catcalls at the Berlin Film Festival. His next piece, Katzelmacher (1969), was a minor critical success, garnering five prizes after its debut at Mannheim. It featured Jorgos, an emigrant from Greece, who encounters violent xenophobic slackers in moving into an all-German neighborhood. This kind of social criticism, featuring alienated characters unable to escape the forces of oppression, is a constant throughout Fassbinder's diverse oeuvre. In subsequent years, he made such controversial films about human savagery such as Pioneers in Ingolstadt (1971) and Whity (1971) before scoring his first domestic commercial success with The Merchant of Four Seasons (1972). This moving portrait of a street vendor crushed by the betrayal and his own futility is considered a masterpiece, as is his first international success Ali: Fear Eats the Soul (1974) (Fear Eats the Soul). With a wider audience for his efforts, however, some critics contend that Fassbinder began to sell out with big budget projects such as Despair (1978), Lili Marleen (1981) and Lola (1981). In retrospect, however, it seems that the added fame simply enabled Fassbinder to explore various kinds of filmmaking, including such "private" works as In a Year with 13 Moons (1978) and The Third Generation (1979), two films about individual experience and feelings. His greatest success came with The Marriage of Maria Braun (1979) (The Marriage of Maria Braun), chronicling the rise and fall of a German woman in the wake of World War II. Other notable movies include The Bitter Tears of Petra von Kant (1972), Fox and His Friends (1975), Satan's Brew (1976) and Querelle (1982), all focused on gay and lesbian themes and frequently with a strongly pornographic edge.

His death is a perfect picture of the man and his legend. On the night of June 10, 1982, Fassbinder took an overdose of cocaine and sleeping pills. When he was found, the unfinished script for a version of Rosa Luxemburg was lying next to him. So boundless was his drive and creativity that, throughout his downward spiral and even in the moment of his death, Fassbinder never ceased to be productive.

Paul Lynde was born in 1926 in Mount Vernon, Ohio (one of six children and the middle of four boys). His father was a local police officer and the sheriff of the Mount Vernon Jail for two years. Lynde got his inspiration to become an actor at the age of four or five after his mother took him to see the original silent film Ben-Hur: A Tale of the Christ (1925). After graduating from Northwestern University, Lynde relocated to New York City where his first break came from being a stand-up comedian at the Number One Fifth Avenue nightclub. Then came an appearance on a Broadway show, "New Faces of 1952".

Lynde also had a two-year run on TV with Perry Como's Kraft Music Hall (1948) and the Broadway and film versions of Bye Bye Birdie (1963). Throught his life, Lynde appeared in the Broadway plays "The Impossible Years", "Don't Drink the Water", and "Plaza Suite". His many film credits include New Faces (1954), Send Me No Flowers (1964), and Rabbit Test (1978). One of his most memorable roles was a recurring role on Bewitched (1964) playing the sneering, sarcastic Uncle Arthur. He appeared on TV's The Dean Martin Show (1965), The Kraft Music Hall (1967), Donny and Marie (1975), and both the prime-time and daytime versions of the game show The Hollywood Squares (Daytime) (1965) where he occupied the famous center square. He had two TV series of his own, The Paul Lynde Show (1972) and The New Temperatures Rising Show (1972). Paul Lynde's witty, wisecracking one-liners and his novel line delivery made him one of Hollywood's funniest and best loved entertainers. Paul Lynde died under mysterious circumstances when he was found dead in his bed after possibly suffering a heart attack in January 1982 at age 55. He had been in ill-health for over a year with cancer or some other illness that was never fully revealed to the public before or after his death.

Famed acting teacher Lee Strasberg was born Israel Strassberg in Budzanov, Austria-Hungary (now Budanov, Ukraine). Brought to America as a child, he had a brief acting career, before becoming one of the founders of the Group Theatre in 1931, directing a number of plays there. His greatest influence, however, was through the Actors Studio, where he became director in 1950. A proponent of "method" acting, which he adapted from the "system" brought to America by Konstantin Stanislavski's disciple--and Marlon Brando's mentor--Stella Adler, he influenced several generations of actors, from James Dean to Dustin Hoffman. Film audiences would know him best as gangster Hyman Roth in The Godfather Part II (1974).

Hans Conried was born in Baltimore and raised both there and in New York City. He studied acting at Columbia University, and played many major classical roles onstage. After having been a member of Orson Welles' Mercury Theatre Company, he was heard as Prof. Kropotkin on the radio show "My Friend Irma" and had various roles on the "Edgar Bergen - Charlie McCarthy Show". He was in the original cast of Cole Porter's 1953 Broadway hit "Can-Can" and stayed with the show for more than a year. Known for his sharp wit, Conried was in demand as an actor, panelist and narrator, appearing frequently in television series and movies throughout the 1960s and 1970s.

John Randolph Webb was born in Santa Monica, California, to Margaret (Smith, of Indian-Irish origins) and Samuel Chester Webb, who was Jewish. His father left home before he was born; Webb would never know him. He was raised by his mother and maternal grandmother in dire poverty that preceded the Depression. Making things worse, Webb suffered from acute asthma from age six until adulthood, somewhat surprising for a man whose cigarette intake reached three packs a day at its peak. Webb's great love was movies, and his dream was to direct them. He began in radio, first as a disc jockey then as host of a comedy show (Believe It or Not!), finally as "Pat Novak, Private Eye", his first true success. A small role in the film noir classic He Walked by Night (1948) led to the creation of "Dragnet". During production, Webb befriended a LAPD police consultant assigned to the film and became fascinated with the cases he heard told. He successfully pitched the idea of a radio series to NBC using stories drawn from actual LAPD files. "Dragnet" first aired over NBC radio on June 3, 1949, and came to TV (Dragnet (1951)) on December 16, 1951. The show was one of the monster hits of early TV and was honored with satires by comics and even Bugs Bunny (!) during it's run, which lasted until September, 1959. The series' popularity could have ensured its continuation indefinitely but, by then, Webb had become a film director and would helm (and star in) five features: Dragnet (1954), Pete Kelly's Blues (1955), The D.I. (1957), -30- (1959), and The Last Time I Saw Archie (1961). The last two were box office flops, and Webb returned to TV in 1962. In February, 1963, he became Head of Production for Warner Bros. Television, a job he was fired from that December when his revision of 77 Sunset Strip (1958) sent its ratings into a death spiral. After two years of unemployment, a new opportunity arose, the made-for-TV film, of which Universal was then sole supplier. Coincidentally, they owned the rights to Dragnet (1951) and invited Webb to do a new "Dragnet" as a TV movie. It turned out so well in industry previews (oddly not broadcast until 1969) that NBC and Universal persuaded him to do a new Dragnet 1967 (1967) TV series, which lasted three-and-a-half seasons and went on to smash success in syndicated reruns. This later incarnation (co-starring Harry Morgan as "Officer Bill Gannon") is probably what Webb is best known for and unlike the 50's version, it was produced in color and increasingly focused on his personal conservative social agenda. Over the next five seasons, he regularly blasted marijuana, LSD (which was legal at the time of the revamped series debut), hippies, juvenile delinquency and disrespect for law enforcement. To be fair, the series was equally intolerant of police corruption and went to great lengths to show LAPD's self-disciplinary process as it was at the time. Webb was known as an extremely economical TV producer: his Mark VII productions routinely used minimal sets, even more minimal wardrobes (Friday and Gannon seem to wear the same suits over entire seasons, which minimized continuity issues.) and maintained a relatively tight-knit stock company that consisted of scale-paid regulars who routinely appeared as irate crime victims, policewomen, miscreants, and clueless parents of misguided youth. While the passing decades haven't been kind to all of the episodes--- several now seem camp, the manpower expended investigating some seemingly minor crimes is laughable and the outcome of many of the trials would be vastly different today--- they remain entertaining while representing somewhat fictionalized docudramas of 1960's police operations. With renewed wealth and industry status, Webb was also determined not to repeat his past debacle as a producer/studio boss. He parlayed Dragnet's renewed popularity into a second hit series, Adam-12 (1968), and scored an even bigger hit with Emergency! (1972) (casting his ex-wife Julie London and her husband Bobby Troup), a show that inspired thousands of kids to become EMT/paramedics for generations, perhaps Webb's greatest legacy. During the production of Dragnet 1967 (1967), he maintained a rigorous daily work schedule while ignoring his health. He loved chili dogs and cigarettes, enjoyed late nights playing cards and drinking with cast members, who were amazed to find him fully alert at 7:00 a.m. the next day, expecting the same from them. The combined effect of this lifestyle made him appear older than he actually was by the late 60s. Unbeknownst to fans, he possessed a healthy sense of humor (His 1968 "Copper Clapper" appearance on The Tonight Show Starring Johnny Carson (1962) remains a classic.), and he was a jazz fanatic, amassing one of the world's greatest collections. Webb's sense of humor didn't extend to his self-image, however. In 1977, director John Landis approached him with an offer to appear as "Dean Wormer" in National Lampoon's Animal House (1978) and recalled Webb sitting stone-faced and unimpressed at the offer. Sadly, he rejected it as being too counter to his public persona. Webb managed to keep his company solvent until his untimely, yet not unexpected, death from a massive heart attack on December 23, 1982 at age 62. Webb was married four times: to Julie London (1947-54), Dorothy Towne (1955-1957), Jackie Loughery (1958-64), and to Opal Wright (1980-death). He had two daughters by London: Stacey Webb (1950-96) and Lisa Webb (born 1952).

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

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

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

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

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

Victor Jory was born in Dawson City, Yukon, Canada. His burly physique made him a wrestling and boxing champion during his military service in the United States Coast Guard. After a few appearances on Broadway, he made his way into Hollywood in the early 1930s. His acting career spanned exactly 50 years, during which he played in nearly 200 films and TV series. In his early years he was cast in romantic roles, but it wasn't long before he began playing villainous parts, likely due to his "black eyes" which could easily give the impression of intimidation. He is remembered for his role as the ruthless overseer Jonas Wilkerson in Gone With the Wind, and his role as Lamont Cranston in The Shadow. He also played Oberon in the 1935 film version of A Midsummer Night's Dream. Among these many co-starring roles, he also appeared in 7 Hopalong Cassidy films between the years 1941 and 1943, usually cast as the villain or a right hand man. The only Hopalong film in which he did not play a 'bad guy' was in Riders of the Timberlane where he played a hot blooded, broad-shouldered lumberjack. During his film career, Victor's voice also offered him the an extensive career in radio. He was the lead role in the radio series, Dangerously Yours, and he also narrated "Tubby the Tuba" and "Bumpo the Ballerina" for children. In the 1950s and 1960s, he began acting in television series while remaining in the film industry. He played the lead role of Detective Howard Finucane in the police drama series, Manhunt, which ran from 1959 to 1961. In 1962 he played Helen Keller's father in the film, The Miracle Worker, for which his co-stars Patty Duke and Anne Bancroft won Oscars. In 1964, he along with fellow actors Susan Seafourth and Coleen Gray testified before the United States Congress as part of Project Prayer, arguing in favor of an amendment which would restore school prayer, something which the United States had eliminated in the early 1960s. Victor Jory continued acting until he retired in 1980. He was married to Jean Inness Jory from 1928 until her death in 1978. Together they had two children, Jon and Jean. At age 79, Victor died of a heart attack on February 12, 1982, in Santa Monica, California.

Philip Kindred Dick was born in Chicago in December 1928, along with a twin sister, Jane. Jane died less than eight weeks later, allegedly from an allergy to mother's milk. Dick's parents split up during his childhood, and he moved with his mother to Berkeley, California, where he lived for most of the rest of his life. Dick became a published author in 1952. His first sale was the short story "Roog." His first novel, "Solar Lottery," appeared in 1955. Dick produced an astonishing amount of material during the 1950s and 1960s, writing and selling nearly a hundred short stories and some two dozen or so novels during this period, including "Do Androids Dream of Electric Sheep?," "Time Out Of Joint," "The Three Stigmata of Palmer Eldritch," and the Hugo-award winning "The Man In The High Castle." A supremely chaotic personal life (Dick was married five times) along with drug experimentation, sidetracked Dick's career in the early 1970s. Dick would later maintain that reports of his drug use had been greatly exaggerated by sensationalistic colleagues. In any event, after a layoff of several years, Dick returned to action in 1974 with the Campbell award-winning novel "Flow My Tears, The Policeman Said." Perhaps more importantly, though, this same year Dick would have a profound religious experience that would forever alter his life. Dick's final years were haunted by what he alleged to be a 1974 visitation from God, or at least a God-like being. Dick spent the rest of his life writing copious journals regarding the visitation and his interpretations of the event. At times, Dick seemed to regard it as a divine revelation and, at other times, he believed it to be a sign of extreme schizophrenic behaviour. His final novels all deal in some way with the entity he saw in 1974, especially "Valis," in which the title-character is an extraterrestrial God-like machine that chooses to make contact with a hopelessly schizophrenic, possibly drug-addled and decidedly mixed-up science fiction writer named Philip K. Dick. Despite his award-winning novels and almost universal acclaim from within the science-fiction community, Dick was never especially financially successful as a writer. He worked mainly for low-paying science-fiction publishers and never seemed to see any royalties from his novels after the advance had been paid, no matter how many copies they sold. In fact, one of the reasons for his extreme productivity was that he always seemed to need the advance money from his next story or novel in order to make ends meet. But towards the very end of his life, he achieved a measure of financial stability, partly due to the money he received from the producers of Blade Runner (1982) for the rights to his novel "Do Androids Dream Of Electric Sheep?" upon which the film was based. Shortly before the film premiered, however, he died of a heart attack at the age of 53. Since his death, several other films have been adapted from his works (incuding Total Recall (1990)) and several unpublished novels have been published posthumously.

James Joseph Broderick III was an American actor of English and Irish descent. Broderick was born in Charlestown, New Hampshire to James Joseph Broderick II (1895-1959) and his wife Mary Elizabeth Martindale. His father, a highly-decorated veteran of World War I, was of Irish descent and his mother had both English and Irish ancestry.

Broderick attended Manchester Central High School, in Manchester, New Hampshire. He then attended the University of New Hampshire, where he took pre-medical courses. In 1945, the 18-year-old Broderick interrupted his studies to join the United States Navy during the closing months of World War II, enlisting as a pharmacist. He was discharged in 1947 during the post-World War II demobilization of the United States armed forces.

In 1947, Broderick returned to his studies at the University of New Hampshire, as junior pre-med student. His life changed course when Broderick auditioned for a pat in a theatrical production of the University. His acting skills gained him the leading role of Captain Bluntschli,the cynical mercenary officer in the play "Arms and the Man" (1894) by George Bernard Shaw.

J. "Joe" Donald Batcheller served as Faculty advisor to the student drama club, and was impressed with Broderick. Batcheller arranged a meeting between Broderick and the experienced actor Arthur Kennedy (1914-1990), who happened to be an old friend of Batcheller. Kennedy gave Broderick a few acting tips, and advised him to attend the "Neighborhood Playhouse School of the Theatre", a full-time professional conservatory for actors in New York City. The faculty there included Sanford Meisner (1905-1997), the acting teacher who developed the so-called "Meisner technique" of acting.

Following his acting studies, Broderick was ready for a professional career. He was mostly a theatrical actor, but started appearing in television productions in the 1950s. He was cast in the leading role of Officer Ernie Brenner in the crime drama "Brenner" (1959-1964). The series featured a father-son duo of New York City police officers. The father was Roy Brenner (played by Edward Binns), a hardened, cynical veteran of the police force, with over 20 years of service. The son was Ernie Brenner (played by Broderick), an optimistic young man who was was only starting his career.

Another highlight of Broderick's television career was the episode "On Thursday We Leave for Home"(1963) in the anthology series "The Twilight Zone". In the episode, the residents of a failed space colony request transportation back to Earth. But the colony's leader desperately tries to keep them there, unwilling to relinquish power. Broderick played the character Al Baines, the engineering officer who unsuccessfully tries to rescue the former leader, after everyone else abandons him.

In the 1960s, Broderick started appearing in theatrical films. Highlights of his film career include the roles of the bohemian-commune leader Ray Brock in "Alice's Restaurant" (1969), the motorman (rail vehicle operator) Denny Doyle in the hijacking-themed film "The Taking of Pelham One Two Three" (1974), and the FBI agent Sheldon in the crime drama "Dog Day Afternoon".

In the late 1970s, Broderick gained a new leading in television, playing the lawyer and proverbial pater familias Doug Lawrence in the drama series "Family" (1976-1980). The series mainly focused on the family problems of the Lawrence family. Doug's wife Kate had quit a promising academic career to get married, and felt frustrated with the life of a homemaker. The elder daughter Nancy had divorced a philandering husband and was struggling as a single mother. Younger daughter Letitia (nicknamed "Buddy") had body-image issues, and considered herself abnormal. The family's only living son Willie was a high-school dropout and had no intention of getting a full-time job. The family mentioned to be still mourning another son, Timothy, who had died years earlier.

Broderick's last acting role was the television film "The Shadow Box" (1980), an adaptation of a play by Michael Cristofer. In the film, Broderick plays Joe, a man dying from an incurable disease and, trying to understand why his wife and son refuse to keep him company.

In the early 1980s, Broderick himself suffered from cancer, and his poor health prevented him from accepting more roles. He died in 1982, due to cancer. He was survived by his wife, painter Patricia Biow Broderick (1925-2003), and their three children. Broderick's son Matthew Broderick (1962 - ) followed in his father's footsteps and became an actor.

Genteel Cathleen Nesbitt was a grand dame of the theatre on both sides of the Atlantic in a career spanning seven decades. Among almost 300 roles on stage, she excelled at comic portrayals of sophisticated socialites and elegant mothers. Hollywood used her, whenever a gentler, sweeter version of Gladys Cooper was needed, yet someone still possessed of a subtly sarcastic wit and turn of phrase. She attended Queen's University in Belfast and the Sorbonne in Paris.

Encouraged by a friend of her father - none other than the legendary Sarah Bernhardt - to enter the acting profession, she was taken on by Victorian actress and drama teacher Rosina Filippi (1866-1930). Cathleen's first appearance on stage was in 1910 at the Royalty Theatre in London. This was followed in November 1911 by her Broadway debut with the touring Abbey Theatre Players in 'The Well of the Saints'. From here on, and for the rest of her long life, she was never out of a job, demonstrating her range and versatility by playing everything from villainesses to being a much acclaimed Kate in Shakespeare's 'The Taming of the Shrew', Perdita in Shakespeare's 'The Winter's Tale', the great-aunt and tutor in the art of courtesanship of the title character in 'Gigi', the Dowager Empress in 'Anastasia', and the gossipy 'humorously animated' Julia Shuttlethwaite of T.S. Eliot's 'The Cocktail Party'. Her Mrs. Higgins in 'My Fair Lady', Brooks Atkinson described as played with 'grace and elegance', which also pretty much sums up Cathleen's career in films.

Her first motion picture role was a lead in the drama The Faithful Heart (1922), adapted from an Irish play. She then absented herself from the screen for the next decade, resurfacing in supporting roles in British films, though rarely cast in worthy parts, possible exceptions being Man of Evil (1944) and Jassy (1947). Her strengths were rather better showcased during her sojourn in Hollywood, which began in 1952. In addition to prolific appearances in anthology television, she also appeared in several big budget films, most memorably as Cary Grant's perspicacious grandmother in An Affair to Remember (1957) and as gossipy Lady Matheson (alongside Gladys Cooper ) in Separate Tables (1958). One of her last roles of note was as the elderly wealthy Julia Rainbird, who instigates the plot in Alfred Hitchcock's final film, Family Plot (1976).

At the instigation of her friend, Anita Loos, author of "Gentlemen Prefer Blondes", Nesbitt wrote her memoir, 'A Little Love and Good Company', in 1977. For her extraordinarily long career in the acting profession, she was awarded a CBE in the Queen's Honours List the following year. She retired just two years prior to her death in 1983 at the age of 94.

Kenneth Gilbert More C.B.E. (20 September 1914 - 12 July 1982) was one of Britain's most successful and highest paid actors of his generation, with a multi award-winning career in theatre, film and television spanning over 4 decades.

At the height of his fame during the 1950's More appeared in some of the most memorable feature films of the decade including Genevieve (1953), Doctor in the House (1954), The Deep Blue Sea (1955), Reach for the Sky (1956), Paradise Lagoon (1957), A Night to Remember (1958), The Sheriff of Fractured Jaw (1958), North West Frontier (1959) and The 39 Steps (1959).

Starting out as the lovable, happy-go-lucky gentleman with boyhood charm and cheerful optimism, he would later refine his acting style into a leading man who could articulate a whole range of emotions in serious dramatic performances. More managed to embody courage and a sense of moral certitude with a relaxed, informal manner that made audiences warm to him immediately.

From very early on in his career More was very conscious of his talents, what parts suited him as an actor and what did not. More would have been the first to admit there were other actors that could better perform the works of Shakespeare than he. More was probably being self-deprecating. He had more range than he sometimes gave himself credit for, but he knew how best to appeal to an audience.

Born in Gerrards Cross, Buckinghamshire, Kenneth More was the son of a civil engineer, a profession he initially pursued but with little success. More was not a trained actor and had not gone into show business to tread the boards. He was merely looking for work and happened to walk past the Windmill Theatre in London's West End one day and saw a sign above the door 'General Manager - Vivian Van Damm'. More had remembered that a man called Van Damm had known his father and so he asked for a job. More was soon a stagehand earning two pounds and ten shillings a week, shifting scenery and helping to get the nude female performers off the stage during their risqué performances. One day he was called upon to help comic Ken Douglas on stage with a sketch, More playing the small part of a Policeman. It was this experience and the subsequent taste of the audience's laughter which made him want to pursue a career in acting. He was soon an actor in his own right appearing on stage as Ken More in comedy sketches. Following 2 years at the Windmill he moved into repertory theatre with seasons at Byker's, Grand Theatre in Newcastle, and the Grand Theatre, Wolverhampton.

With the outbreak of war, and following a stint with the Merchant Navy, More joined Royal Navy cruiser HMS Aurora (R12) . It would end up having the greatest impact on his character and his acting style during wartime. As ship's Action Commentator he found an opportunity to hone his craft as an actor, keeping steady nerves when reporting action during conflict to the crew below decks. He also got on well with his shipmates by helping them to write wonderfully romantic love letters home to their ladies. Aurora would journey across the Atlantic and Mediterranean seeing its fair share of action. Wartime missions aboard Aurora, and later with aircraft carrier HMS Victorious (R38) would lead him to receive medals, including campaign stars for Africa, Italy, the Atlantic and Pacific.

After being demobbed from the Navy More returned to England and signed with agent Harry Dubens, who was seeking actors who had served in the forces. More went into 'The Crimson Harvest' (1946) at the Gateway Theatre in Notting Hill, and it was there that BBC producer Michael Barry saw him and offered him a contract to play in small television roles at the Alexandra Palace to help restart the BBC.

Jenny Laird and John Fernald's 'And No Birds Can Sing' (1946) marked More's West End debut at the Aldwych Theatre, playing the part of the Reverend Arthur Platt. Within a year he was back on stage in 'Power Without Glory' (1947) by Michael Clayton Hutton at the New Lindsey, Notting Hill Gate. It was so well received that it led to a live version being broadcast on the BBC. That same year Noël Coward cast More as a British Resistance Leader in 'Peace in Our Time' at the Lyric Theatre; a story of what might have happened if Britain had lost the Second World War. More and Coward got on well and stayed friends throughout their lives. 1950 saw More in 'The Way Things Go' by Frederick Lonsdale at the Phoenix Theatre, alongside a cast which included Michael Gough, Glynis Johns, Ronald Squire and Janet Burnell.

His first breakthrough came on stage at The Duchess Theatre in 1952 playing the role of Freddie Page alongside Peggy Ashcroft in Terence Rattigan's 'The Deep Blue Sea'. It was noted actor Roland Culver who had put More forward for the part having known Rattigan. The production was an enormous success and Kenneth More received great critical acclaim. He would often cite it as his favourite stage performance.

It was whilst More was performing in 'The Deep Blue Sea' that filmmaker Henry Cornelius came back stage to offer him a part which would change his career forever, the role of Ambrose Claverhouse in a film called Genevieve (1953). Cornelius had remembered More from a screen test he had directed him in for the part of Lt. E.G.R. (Teddy) Evans in Scott of the Antarctic (1948). This had been More's first attempt to break into cinema which had not come to fruition although plenty of film work followed. Cornelius was sure More was the Claverhouse he needed for 'Genevieve' and he was not disappointed. More's perfect comic timing was made for the part and he won the audience immediately making him a rising star overnight. 'Genevieve' was the second most popular movie that year and went onto become a British comedy classic, winning Best British Film at the British Film Academy Awards.

More channelled the same energy and zest for life he had shown as Claverhouse in his next performance as student Doctor Richard Grimsdake in the first of the much-loved Doctor in the House (1954) film series. It was a winning formula becoming the most popular film at the box office in 1954 securing More Best Actor at the British Film Academy Awards.

1955 saw More returning to the role of Freddie Page in a big screen version of Terence Rattigan's The Deep Blue Sea, playing alongside Vivien Leigh. Incidentally, he had brought the role back to life the previous year for BBC Sunday-Night Theatre (1950) series. The screen adaptation was produced by Alexander Korda and directed by Anatole Litvak. More's performance was once again praised by audiences and critics alike, leading to being awarded the prestigious Volpi cup for Best Actor at the Venice Film Festival, as well as nominations for Best Actor at the British Film Academy Awards. Further honours were bestowed by the Variety Club of Great Britain as Most Promising International Star of 1955. He had finally made his mark.

It was a serious leading role initially turned down by Richard Burton which would make More a major star. Playing the legless, real-life fighter pilot Douglas Bader in Reach for the Sky (1956) was the role of a lifetime. He felt the part of Bader was one he was born to play as he mentioned in his autobiography, 'More or Less': "Bader's philosophy was my philosophy. His whole attitude to life was mine." More had met Bader at Gleneagles where they played a round of golf together, Bader winning each time. They got on well which was somewhat surprising in that Bader was not that keen on actors. Not wanting to caricature him More kept his distance whilst preparing for the role, only meeting him on a handful of occasions for dinner with his friend, actor Ronald Squire. 'Reach for the Sky' became a smash hit upon release and the most popular British film of 1956, winning a British Film Academy award for Best Film. Playing Bader also garnered a Best Actor award for More from popular cinema publication, Picturegoer magazine.

'Reach for the Sky' did something much greater for his career, it showed British audiences that Kenneth More was not just suited to comic roles, he had range as a leading man in dramatic performances. In later years More called several of his films 'favourites' in the press, but it is the belief that 'Reach for the Sky' remained his preferred choice and greatest accomplishment on screen.

Hugely popular films The Admirable Crichton (1957), A Night to Remember (1958), The Sheriff of Fractured Jaw (1958), North West Frontier (1959) and The 39 Steps (1959) galvanized his status as one of Britain's most sought-after actors of the decade. Once he was a £5 a week actor in rep, now he was commanding £50,000 a film.

At the height of his fame More was offered several opportunities to go to Hollywood but with the success he was enjoying at home he did not see the point, or even what he had to offer Tinseltown at this juncture.

The 1960s saw More continue as a leading man in Sink the Bismarck! (1960), Loss of Innocence (1961) and We Joined the Navy (1962). He would cite The Comedy Man (1964) as one of his most favourite roles playing down and out middle-aged actor Chick Byrd. This character resonated with him on two levels. The first was how it represented the experiences he had as a struggling young actor, the second was how he was coming to terms with the present, his own age and the shifting trends of the industry. It would be More's last leading role on the silver screen. Further successes on film came but in cameo or supporting roles, including The Longest Day (1962), Oh! What a Lovely War (1969), Battle of Britain (1969), Scrooge (1970) and The Slipper and the Rose: The Story of Cinderella (1976).

More finally achieved worldwide fame as leading man on the small screen in a BBC adaptation of John Galsworthy's The Forsyte Saga (1967). He had been working steadily on television throughout the 1960's in starring roles, but The Forsyte Saga caught the world's imagination and was a huge, phenomenal success. The series managed to achieve that rare cult-like status and helped introduce Kenneth More to a whole new audience, many who had not seen his earlier work. Several years late More took on another famous literary character playing the part of a Catholic priest who was adept at solving mysteries in G.K. Chesterton's Father Brown (1974). The TV Times awarded him Best Actor for his performance.

Kenneth More had returned to the theatre as early as 1963, playing the part of Peter Pounce alongside Celia Johnson in Giles Cooper's 'Out of the Crocodile' at the Phoenix Theatre. A year later he appeared in a musical version of 'The Admirable Crichton' co-starring with Millicent Martin in 'Our Man Crichton' at the Shaftesbury Theatre. By the end of the 1960s he had received great critical praise as Hugh in a production of 'The Secretary Bird' (1968) by William Douglas-Home at the Savoy Theatre. It turned out to be the biggest stage success of his career. Terence Rattigan's 'The Winslow Boy' (1970), Alan Bennett's award-winning 'Getting On' (1971), Jeremy Kingston's 'Sign of the Times' (1973) and Frederick Lonsdale's 'On Approval' (1977) followed, all of which reinforced More's popularity in his later years.

He was made a CBE (Commander of the Most Excellent Order of the British Empire) in the Queen's New Year's Honours list of 1970. The Kenneth More Theatre, a regional playhouse named in his honour opened in Redbridge in 1974. The Variety Club of Great Britain bestowed More with a special silver heart in 1975 for 40 years in show business. He had been a great supporter of the club over the years taking part in a great deal of charitable events. A special, televised ceremony was held in the Lancaster ballroom of the Savoy Hotel and was attended by many of the industry's best-known names, including Sir. Douglas Bader who More had remained friends with throughout the years.

1978 saw the release of his autobiography 'More or Less', reported to have sold 100,000 copies almost immediately upon release. It received widespread critical and public praise and showed that his appeal had not diminished after 4 decades in the business, despite how times had changed. More was considered an 'institution in British entertainment' according to presenter Michael Parkinson whilst introducing him on his chat show in 1978.

More announced his retirement in 1980 due to illness, at the time he was diagnosed with Parkinson's. It is now very likely that he was suffering from Multiple System Atrophy (MSA), due in part to the age of onset and the speed at which the condition progressed. Kenneth More passed away on July 12th, 1982. His wife Angela Douglas was by his side having nursed him in his final years.

Kenneth More's memorial service was held at St Martin-in-the-Fields on 20 September 1982, which also marked his birthday. The service was packed with family and friends alike, including Lauren Bacall, Dame Anna Neagle and Lady Joan Bader, widow of Sir Douglas Bader who had passed away the same year. A plaque was erected at St. Paul's Church Covent Garden, known more commonly as the Actor's Church.

It is almost 40 years since his passing, yet Kenneth More's performances have endured, continuing to screen worldwide on television and home entertainment. What greater legacy can there be for an actor than to be able to continue to thrill audiences long after one has taken their final bow.

Reta Shaw is best known to television audiences as Hope Lange's housekeeper in the TV series The Ghost & Mrs. Muir (1968). Disney fans will remember her as one of the singing domestics in the Oscar-winning masterpiece Mary Poppins (1964). While she never achieved stardom as a leading lady, she earned her place as a solid supporting player in a variety of popular, much-loved cinematic classics. She created the comic part of Mabel when the musical "The Pajama Game" opened on Broadway in 1954, a role she repeated in the film version.

Born in Armagh, Northern Ireland, Patrick Magee is a classic example of how certain actors rate the stage far more highly than the screen. He was a favorite actor of Samuel Beckett, one of whose greatest plays, 'Krapp's Last Tape', was written specifically for him. He did outstanding work on film, most notably in Stanley Kubrick's A Clockwork Orange (1971) as the crippled writer Mr. Alexander, and in Kubrick's Barry Lyndon (1975), as the chevalier. He also appeared in Joseph Losey's The Servant (1963), Peter Brook's Marat/Sade (1967) and William Friedkin's The Birthday Party (1968). He also appeared in films by such cult directors as Roger Corman, Lucio Fulci and Walerian Borowczyk.