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Audrey Hepburn was born as Audrey Kathleen Ruston on May 4, 1929 in Ixelles, Brussels, Belgium. Her mother, Baroness Ella Van Heemstra, was a Dutch noblewoman. Her father, Joseph Victor Anthony Ruston, was a businessman and Honorary British Consul in the Dutch East Indies; he was born in Úzice, Bohemia, of English, Austrian and Czech-Jewish descent.

After her parents' divorce, Audrey went to London with her mother where she went to a private girls school. Later, when her mother moved back to the Netherlands, she attended private schools as well. While she vacationed with her mother in Arnhem, Netherlands, Hitler's army took over the town. It was here that she fell on hard times during the Nazi occupation. Audrey suffered from depression and malnutrition.

After the liberation, she went to a ballet school in London on a scholarship and later began a modeling career. As a model, she was graceful and, it seemed, she had found her niche in life--until the film producers came calling. In 1948, after being spotted modeling by a producer, she was signed to a bit part in the European film Nederlands in zeven lessen (1948). Later, she had a speaking role in the 1951 film, Young Wives' Tale (1951) as Eve Lester. The part still wasn't much, so she headed to America to try her luck there. Audrey gained immediate prominence in the US with her role in Roman Holiday (1953). This film turned out to be a smashing success, and she won an Oscar as Best Actress.

On September 25, 1954, she married actor Mel Ferrer. She also starred in Sabrina (1954), for which she received another Academy Award nomination. She starred in the films Funny Face (1957) and Love in the Afternoon (1957). She received yet another Academy Award nomination for her role in The Nun's Story (1959). On July 17, 1960, she gave birth to her first son, Sean Hepburn Ferrer.

Audrey reached the pinnacle of her career when she played Holly Golightly in Breakfast at Tiffany's (1961), for which she received another Oscar nomination. She scored commercial success again playing Regina Lampert in the espionage caper Charade (1963). One of Audrey's most radiant roles was in the fine production of My Fair Lady (1964). After a couple of other movies, most notably Two for the Road (1967), she hit pay dirt and another nomination in Wait Until Dark (1967).

In 1967, Audrey decided to retire from acting while she was on top. She divorced from Mel Ferrer in 1968. On January 19, 1969, she married Dr. Andrea Dotti. On February 8, 1970, she gave birth to her second son, Luca Dotti in Lausanne, Vaud, Switzerland. From time to time, she would appear on the silver screen.

In 1988, she became a special ambassador to the United Nations UNICEF fund helping children in Latin America and Africa, a position she retained until 1993. She was named to People's magazine as one of the 50 most beautiful people in the world. Her last film was Always (1989).

Audrey Hepburn died, aged 63, on January 20, 1993 in Tolochnaz, Vaud, Switzerland, from appendicular cancer. She had made a total of 31 high quality movies. Her elegance and style will always be remembered in film history as evidenced by her being named in Empire magazine's "The Top 100 Movie Stars of All Time".

River Phoenix was born River Jude Bottom in Madras, Oregon. His mother, Arlyn (Dunetz), a Bronx-born secretary, and his father, John Bottom, a carpenter, met in California in 1968. They worked as itinerant fruit pickers, and later joined the Children of God religious group (John was originally Catholic, while Arlyn was born Jewish). By the time River was two, they were living in South America, where John was the sect's Archbishop of Venezuela. They later left the group and, in 1977, moved back to the United States, changing their last name to "Phoenix". They lived with River's maternal grandparents in Florida, and later moved to Los Angeles. His parents encouraged all of their children to get into movies and, by age ten, River was acting professionally on TV. His film debut was in Explorers (1985), followed rapidly by box-office successes with Stand by Me (1986) and The Mosquito Coast (1986), and as young Indiana in Indiana Jones and the Last Crusade (1989). His role as Danny Pope in Running on Empty (1988) earned him an Academy Award nomination as Best Supporting Actor. His best role was probably Mike, the hustler in My Own Private Idaho (1991).

A dedicated animal-rights activist and environmentalist, River was a strict vegetarian and a member of PeTA (People for the Ethical Treatment of Animals). River was a talented musician as well as an actor, and he played guitar, sang, and wrote songs for his band, Aleka's Attic, which also included his sister Rain Phoenix, while living in Gainsville, Florida. Although the band never released its own album, their song "Across the Way" can be found on PeTA's "Tame Yourself" album, used to fight animal abuse. River was in the middle of filming Dark Blood (2012), playing the character Boy when he died. The film couldn't be finished due to too many unfilmed crucial scenes. His mother was later sued.

River died of acute multiple drug intoxication involving lethal levels of cocaine and morphine at age 23 outside the Viper Room, Johnny Depp's Los Angeles club.

Statuesque, smart Canadian-born Alexis Smith, with her blue/green eyes and a seductively husky voice, lent a touch of class to her leading ladies of the 1940s and 1950s.

After her family moved to California, Alexis grew into a precocious talent and performed ballet in public by the age of thirteen -- dancing to 'Carmen' at the Hollywood Bowl. She later graduated with a degree in drama from Los Angeles City College having previously won an acting contest whilst still in high school. During a performance of a play on campus she was spotted by a Warner Brothers talent scout and signed to a contract in 1941. Until the early 1950s she was paired with the top male stars in Hollywood, including Clark Gable, Humphrey Bogart, William Holden and Bing Crosby. While often simply decorative (as, for example, in Of Human Bondage (1946) and Stallion Road (1947)), stylishly attired by costume designers like Milo Anderson and Helen Rose in the most glamorous gowns, Alexis also proved to be a capable and spirited actress in spite of relatively few opportunities to break out of the mold of "the other woman".

Early on in her screen career the studio's publicity department touted Alexis -- much to her chagrin -- as the "Dynamite Girl". While she claimed in later years to have typecast herself (saying that few of her assigned roles ever challenged her on any level) Alexis nonetheless enjoyed good critical reviews for many of her performances. She was also popular with directors and film crews who appreciated her relaxed, professional manner on the set. Commencing her Hollywood tenure, she was cast in two films with Errol Flynn (she would make a total of four films with him): Dive Bomber (1941) and the boxing drama Gentleman Jim (1942). Though decidedly second fiddle to both the action and the charismatic Flynn, Alexis made a good first impression as the fetching romantic interest. Her next performance, in The Constant Nymph (1943) opposite Charles Boyer, was described by a reviewer as an "intelligent rendition". Her biggest hit of the mid-1940s was as Cole Porter's wife in the inaccurate--but hugely successful--biopic Night and Day (1946). She also appeared in two "noir" films with Humphrey Bogart at his most menacing: the interesting and underrated Conflict (1945) and the excellent The Two Mrs. Carrolls (1947). As Clark Gable's wife in the gambling drama Any Number Can Play (1949) she was critically lauded as "genuinely appealing". In between, there were also some conspicuous failures, in particular her rather stolid performance in the period drama The Woman in White (1948). She had little to do in Here Comes the Groom (1951) and The Turning Point (1952) and her best part in the 1950s, though small, was that of Carol Wharton in The Young Philadelphians (1959).

During the 1960s, Alexis took a sabbatical from the screen to appear on stage with her husband, actor Craig Stevens (her marriage, a rare Hollywood success, lasted 49 years) in "Critic's Choice", "Cactus Flower" and "Mary, Mary". She reserved her best acting for the stage, becoming the Tony Award-winning star of Stephen Sondheim's musical "Follies" in which she played Phyllis during the 1971 run on Broadway (which landed her on the cover of the May 3 issue of 'Time' Magazine) and at the Shubert Theatre in Los Angeles in 1972. In 1973, she played Sylvia Fowler in a revival of Clare Boothe Luce's "The Women" and was nominated for another Tony for her leading role of Lila Halliday in "Platinum" in 1979.

Alexis was seen infrequently on television from the mid-'50s, sometimes appearing on the same show opposite her husband. She had a recurring role as the homicidal Lady Jessica Montfort in Dallas (1978) during the 1984 and 1990 seasons and was nominated for an Emmy for a guest-starring role on Cheers (1982). It was fitting, or perhaps ironic, that her last film role in The Age of Innocence (1993) was as a New York socialite, the kind of stereotypical persona she had portrayed so often in her heyday at Warners.

Actor, raconteur, art collector and connoisseur of haute cuisine are just some of the attributes associated with Vincent Price. He was born Vincent Leonard Price, Jr. in St. Louis, Missouri, to Marguerite Cobb "Daisy" (Wilcox) and Vincent Leonard Price, who was President of the National Candy Company. His grandfather, also named Vincent, invented Dr. Price's Baking Powder, which was tartar-based. His family was prosperous, as he said, "not rich enough to evoke envy but successful enough to demand respect." His uniquely cultivated voice and persona were the result of a well-rounded education which began when his family dispatched him on a tour of Europe's cultural centers. His secondary education eventually culminated in a B.A. in English from Yale University and a degree in art history from London's Courtauld Institute.

Famously, his name has long been a byword for Gothic horror on screen. However, Vincent Price was, first and foremost, a man of the stage. It is where he began his career and where it ended. He faced the footlights for the first time at the Gate Theatre in London. At the age of 23, he played Prince Albert in the premiere of Arthur Schnitzler 's 'Victoria Regina' and made such an impression on producer Gilbert Miller that he launched the play on Broadway that same year (legendary actress Helen Hayes played the title role). In early 1938, he was invited to join Orson Welles 's Mercury Theatre on a five-play contract, beginning with 'The Shoemaker's Holiday.' He gave what was described as "a polished performance." Thus established, Vincent continued to make sporadic forays to the Great White Way, including as the Duke of Buckingham in Shakespeare's 'Richard III' (in which a reviewer for the New Yorker found him to be "satisfactorily detestable") and as Oscar Wilde in his award-winning one man show 'Diversions and Delights,' which he took on a hugely successful world-wide tour in 1978. While based in California, Vincent was instrumental in the success of the La Jolla Playhouse in San Diego, starring in several of their bigger productions, including 'Billy Budd' and 'The Winslow Boy.' In 1952, Vincent joined the national touring company of 'Don Juan in Hell' in which he was cast as the devil. Acting under the direction of Charles Laughton and accompanied by noted thespians Charles Boyer, Cedric Hardwicke and Agnes Moorehead, he later recalled this as one of his "greatest theatrical excitements."

As well as acting on stage, Vincent regularly performed on radio network programs, including Lux Radio Theatre, CBS Playhouse and shows for the BBC. He narrated or hosted assorted programs ranging from history (If these Walls Could Speak) to cuisine (Cooking Price-Wise). He wrote several best-selling books on his favorite subjects: art collecting and cookery. In 1962, he was approached by Sears Roebuck to act as a buying consultant "selling quality pictures to department store customers." As if that were not enough, he lectured for 15 years on art, poetry and even the history of villainy. He recorded numerous readings of poems by Edgar Allan Poe (nobody ever gave a better recital of "The Raven"!), Shelley and Whitman. He also served on the Arts Council of UCLA, was a member of the Fine Arts Committee for the White House, a former chairman of the Indian Arts & Crafts Board and on the board of trustees of the Los Angeles County Museum of Art.

And besides all of that, Vincent Price remained a much sought-after motion picture actor. He made his first appearance on screen as a romantic lead in Service de Luxe (1938), a frothy Universal comedy which came and went without much fanfare. After that, he reprized his stage role as Master Hammon in an early television production of 'The Shoemaker's Holiday.' For one reason or another, Vincent was henceforth typecast as either historical figures (Sir Walter Raleigh, Duke of Clarence, Mormon leader Joseph Smith, King Charles II, Cardinal Richelieu, Omar Khayyam) or ineffectual charmers and gigolos. Under contract to 20th Century Fox (1940-46), Laura (1944) provided one of his better vehicles in the latter department, as did the lush Technicolor melodrama Leave Her to Heaven (1945) which had Vincent showcased in a notably powerful scene as a prosecuting attorney. His performance was singled out by the L.A. Times as meriting "attention as contending for Academy supporting honors."

His first fling with the horror genre was Dragonwyck (1946), a Gothic melodrama set in the Hudson Valley in the early 1800's. For the first time, Vincent played a part he actually coveted and fought hard to win. His character was in effect a precursor of those he would later make his own while working for Roger Corman and American-International. As demented, drug-addicted landowner Nicholas Van Ryn, he so effectively terrorized Gene Tierney's Miranda Wells that the influential columnist Louella Parsons wrote with rare praise: "The role of Van Ryn calls for a lot of acting and Vincent admits he's a ham and loves to act all over the place, but the fact that he has restrained himself and doesn't over-emote is a tribute to his ability." If Vincent was an occasional ham, he proved it with his Harry Lime pastiche Carwood in The Bribe (1949). Much better was his starring role in a minor western, The Baron of Arizona (1950), in which he was convincingly cast as a larcenous land office clerk attempting to create his own desert baronetcy.

With House of Wax (1953), Vincent fine-tuned the character type he had established in Dragonwyck, adding both pathos and comic elements to the role of the maniacal sculptor Henry Jarrod. It was arduous work under heavy make-up which simulated hideous facial scarring and required three hours to apply and three hours to remove. He later commented that it "took his face months to heal because it was raw from peeling off wax each night." However, the picture proved a sound money maker for Warner Brothers and firmly established Vincent Price in a cult genre from which he was henceforth unable to escape. The majority of his subsequent films were decidedly low-budget affairs in which the star tended to be the sole mitigating factor: The Mad Magician (1954), The Fly (1958) (and its sequel), House on Haunted Hill (1959), the absurd The Tingler (1959) (easily the worst of the bunch) and The Bat (1959). With few exceptions, Vincent's acting range would rarely be stretched in the years to come.

Vincent's association with the genial Roger Corman began when he received a script for The Fall of the House of Usher, beginning a projected cycle of cost-effective films based on short stories by Edgar Allen Poe. As Roderick Usher, Vincent was Corman's "first and only choice." Though he was to receive a salary of $50,000 for the picture, it was his chance "to express the psychology of Poe's characters" and to "imbue the movie versions with the spirit of Poe" that clinched the deal for Vincent. He made another six films in this vein, all of them box office winners. Not Academy Award stuff, but nonetheless hugely enjoyable camp entertainment and popular with all but highbrow audiences. Who could forget Vincent at his scenery chewing best as the resurgent inquisitor, luring Barbara Steele into the crypt in The Pit and the Pendulum (1961)? Or as pompous wine aficionado Fortunato Luchresi in that deliriously funny wine tasting competition with Montresor Herringbone (Peter Lorre) in Tales of Terror (1962)? Best still, the climactic battle of the magicians pitting Vincent's Erasmus Craven against Boris Karloff's malevolent Dr. Scarabus in The Raven (1963) (arguably, the best offering in the Poe cycle). The Comedy of Terrors (1963) was played strictly for laughs, with the inimitable combo of Price and Lorre this time appearing as homicidal undertakers.

For the rest of the 60s, Vincent was content to remain in his niche, playing variations on the same theme in City in the Sea (1965) and Witchfinder General (1968) (as Matthew Hopkins). He also spoofed his screen personae as Dr. Goldfoot and as perennial villain Egghead in the Batman (1966) series. He rose once more to the occasion in the cult black comedy The Abominable Dr. Phibes (1971) (and its sequel Dr. Phibes Rises Again (1972)) commenting that he had to play Anton Phibes "very seriously so that it would come out funny." The tagline, a parody of the ad for Love Story (1970), announced "love means never having to say you're ugly."

During the 70s and 80s, Vincent restricted himself mainly to voice-overs and TV guest appearances. He turned in a playful performance as an insane Shakespearean ham in Theater of Blood (1973). His final role of note was as the inventor in Edward Scissorhands (1990), a role written specifically for him. The embodiment of gleeful, suave screen villainy, Vincent Price died in Los Angeles in October 1993 at the age of 82. People magazine eulogized him as "the Gable of Gothic." Much earlier, an English critic named Gilbert Adair spoke for many fans when he said "Every man his Price - and mine is Vincent."

Born on February 1, 1965 to Bruce Lee (Martial Arts idol) and Linda Lee Cadwell. Brother to Shannon Lee. In 1970-71, they moved to Hong Kong, where Brandon lived until age eight, becoming fluent in Cantonese. By the time he was able to walk, he was already involved in learning about martial arts from his father.

Brandon attended high school in Los Angeles, where he realized that he had also inherited acting ability along with his martial arts skills. In 1983, he was expelled from school because of misbehavior, but received his diploma at Miraleste High School. He continued his education and interest in acting at Emerson College in Massachusetts, where he majored in theatre. Having chosen an acting career, he studied at the Strasberg Academy, with Eric Morris in New York and in Los Angeles, and in Lynette Katselas' class in Los Angeles.

His first professional job as an actor came at age twenty, when casting director Lynn Stalmaster asked him to read for a CBS television film, Kung Fu: The Movie (1986). Lee's first role in a feature film was Legacy of Rage (1986) (aka "Legacy of Rage" (1986)) for D.M. Films of Hong Kong, followed by a co-starring role in Showdown in Little Tokyo (1991). He was also in Rapid Fire (1992), and The Crow (1994). He turned down offers to be in Dragon: The Bruce Lee Story (1993).

Brandon died (while filming) at the age of 28, of what is to be believed, a brain hemorrhage on the set of The Crow (1994). The film crew shot a scene in which it was decided to use a gun without consent from the weapons coordinator, who had been sent home early that night. They handed Michael Massee the gun loaded with full power blanks and shot the scene, unaware that a bullet had become dislodged from a previous shot and had lodged itself in the barrel. Upon shooting of the scene the blank round forced the bullet out the barrel striking Brandon Lee. The crew only noticed when Lee was slow getting up. The doctors worked desperately for five hours, but it was no use. The bullet had lodged itself in Mr Lee's lower spine. He was pronounced dead at 1:04 P.M. the next day. He was supposed to marry Eliza Hutton on April 17, 1993. His body was flown to Seattle to be buried beside his father in Lake View Cemetery.

André René Roussimoff was born in a small farming community in Grenoble, France to Boris and Marian Rouismoff. His parents and four siblings were all of normal size, but André suffered from acromegaly, a hormonal disorder that results when the pituitary gland produces excess growth hormone. As the Giant grew up (very quickly, as he reached the height of 6' 3" by the age of 12) he began to often disagree with his parents. He left home at 14 and obtained a job with a furniture-moving firm and began to play rugby. At 17 he was seen training at a gym by several professional wrestlers. Impressed by his size, they taught him some basic wrestling skills and built a friendship with him. Later, when one of the wrestlers was injured, André stepped in for him. He would wrestle for nearly thirty more years. By his early 20s André had wrestled in Algeria, South Africa, Morocco, Tunisia, England, Scotland, and most of non-Communist Europe but had not found fame. In 1971 he came to North America under the name Jean Ferre and was mildly popular in Canada. Then he met a New York based booker by the name of Vincent J. McMahon (often incorrectly referred to as "Vince McMahon Sr") who renamed him "Andre the Giant," and billed him as 7' 4" (Andre was really closer to 7'). Soon Andre the Giant became a national sensation and was a much sought after wrestler. In addition he participated in television, movies, and commercials. With his wealth the Giant bought a ranch in Ellerbe, North Carolina where he would live during his rare time off and after he retired from wrestling in 1990. He died while in France after attending his father's funeral. André was cremated and his ashes were spread across his ranch. He is survived by his one daughter.

Fred Gwynne was an enormously talented character actor most famous for starring in the television situation comedies Car 54, Where Are You? (1961) (as Officer Francis Muldoon) and The Munsters (1964) (as the Frankenstein clone Herman Munster). He was very tall at 6'5" and had a resonant, baritone voice that he put to good use in Broadway musicals.

Born Frederick Hubbard Gwynne in New York City, the son of Dorothy (Ficken) and Frederick Walker Gwynne, a wealthy stockbroker and partner in the securities firm Gwynne Brothers. His grandfathers emigrated from Northern Ireland and England, respectively, and his grandmothers were native-born New Yorkers. Fred attended the exclusive prep school Groton, where he first appeared on stage in a student production of William Shakespeare's "Henry V". After serving in the United States Navy as a radioman during World War II, he went on to Harvard, where he majored in English and was on the staff of the "Harvard Lampoon". At Harvard, he studied drawing with artist R.S. Merryman and was active in dramatics. A member of the Hasty Pudding Club, he performed in the dining club's theatricals, appearing in the drag revues of 1949 and 1950. After graduating from Harvard with the class of 1951, Gwynne acted in Shakespeare with a Cambridge, Massachusetts repertory company before heading to New York City, where he supported himself as a musician and copywriter. His principal source of income for many years came from his work as a book illustrator and as a commercial artist. His first book, "The Best in Show", was published in 1958.

On February 20, 1952, he made his Broadway debut as the character "Stinker", in support of Helen Hayes, in the comic fantasy "Mrs. McThing". The play, written by "Harvey (1950)" author Mary Chase, had a cast featuring Ernest Borgnine, the future "Professor" Irwin Corey and Brandon De Wilde, the young son of the play's stage manager, Frederick DeWilde. The play ran for 320 performances and closed on January 10, 1953. He next appeared on Broadway in Burgess Meredith's staging of Nathaniel Benchley's comedy "The Frogs of Spring", which opened at the Broadhurst Theatre on October 21, 1953. The play flopped, closing on Halloween Day after but 15 performances. He did not appear on Broadway again for almost seven years.

Gwynne made his movie debut, unbilled, as one of Johnny Friendly's gang of thugs who menace Marlon Brando in Elia Kazan's classic On the Waterfront (1954). From 1956 - 1963, he appeared on the television dramatic showcases Studio One (1948), The Kaiser Aluminum Hour (1956), Kraft Theatre (1947), The DuPont Show of the Month (1957), The DuPont Show of the Week (1961) and The United States Steel Hour (1953). But it was in situation comedies that he made his name and his fame.

In 1955, he made a memorable guest appearance as Private Honigan on The Phil Silvers Show (1955). He played a soldier with an enormous appetite that Phil Silvers' Sgt. Bilko entered into a pie-eating contest, only to discover he could only eat like a trencherman when he was depressed. The spot led to him coming back as a guest in more episodes. While appearing on Broadway as the pimp Polyte-Le-Mou in the Peter Brook-directed hit "Irma La Douce" (winner of the 1961 Tony Award for Best Musical), "Bilko" producer-writer Nat Hiken cast him in one of the lead roles in the situation comedy Car 54, Where Are You? (1961). The series, in which he revealed his wonderful flair for comedy, had Gwynne appearing as New York City police officer Francis Muldoon, who served in a patrol car in the Bronx with the dimwitted Officer Gunther Toody, played by co-star Joe E. Ross ("Oooh! Oooh!"). Car 54, Where Are You? (1961) lasted only two seasons, but it was so fondly remembered by Baby Boomers, it inspired a feature film version in 1994. He also served as Lamb Chop's doctor on another Baby Boomer classic, The Shari Lewis Show (1960).

Another one of his "Car 54, Where Are You?" co-stars, Al Lewis, not only became a lifelong friend, he appeared as Gwynne's father-n-law in his next situation comedy. Gwynne was cast as the Frankenstein's monster-like paterfamilias in The Munsters (1964), which also lasted two seasons. In addition to wearing heavy boots with four-inch lifts on them, Gwynne had to wear 40 - 50 lbs of padding and makeup for the role and he reportedly lost ten pounds in one day of filming under the hot lights. He made guest appearances as Herman Munster, most notably on The Red Skelton Hour (1951), appearing on April 27, 1965, along with Billy J. Kramer and the Dakotas, a pop band from The Beatles' native Liverpool. Gwynne appeared in character as Herman Munster in a "Freddie the Freeloader" comedy sketch.

When "The Munsters" was canceled after the 1965-1966 season, Gwynne returned to the theatre to escape television typecasting, although he did return for a featured appearance in the televised version of Arsenic and Old Lace (1969), playing the psychotic Jonathan Brewster in an all-star cast, including with his "Mrs. McThing" co-star Helen Hayes, Lillian Gish, Bob Crane, Sue Lyon, Jack Gilford and David Wayne. He appeared twice on television in Mary Chase's "Harvey" (1950), the first time in 1958 on the "Dupont Show of the Month" version broadcast by CBS, in which he appeared in support of Art Carney as Elwood P. Dodd. Others in the cast included Elizabeth Montgomery, Jack Weston and Larry Blyden. He appeared as the cab driver in the 1972 version, Harvey (1972), in which James Stewart reprised his role as Elwood P. Dodd, in which he was reunited with his Broadway co-star Helen Hayes.

In 1968, he made a television series pilot for Screen Gems, "Guess What I Did Today?", co-starring Bridget Hanley, who later played Candy Pruit on Here Come the Brides (1968). The pilot, which was made for NBC, was not picked up by the network. Gwynne had trouble making producers forget his character Herman Munster and he started refusing to have anything to do with or even to speak of the show. One of the few visual productions to utilize his beautiful singing voice was The Littlest Angel (1969), a musical produced as part of the Hallmark Hall of Fame (1951).

His movie and television appearances were sporadic throughout the 1970s as he worked on- and off-Broadway. He had used his singing voice again to great effect in Meredith Wilson's musical "Here's Love", which opened at the Shubert Theatre on October 20, 1963 and played for 334 performances, closing on July 25, 1964. Exactly nine years from the "Here's Love" opening, he appeared at the Plymouth as "Abraham Lincoln" in the Broadway play "The Lincoln Mask", a flop that lasted but one week of eight performances.

His most distinguished performance on Broadway (and the favourite of all of his theatrical roles, was as Big Daddy in the 1974 Broadway revival of Tennessee Williams' "Cat on a Hot Tin Roof". Though not as cutting as Burl Ives had been in the original production, his Big Daddy was lyrical and powerful, so much so that he overpowered Keir Dullea in the role of "Brick". However, Elizabeth Ashley won a Tony Award for playing Maggie the Cat in the production, which gave Tennessee Williams his first big success in a decade, albeit in a revival.

Gwynne also was memorable as the elderly Klansman in the first two parts of "The Texas Trilogy" in 1977 season. His last appearance on Broadway was in Anthony Shaffer's "Whodunnit", which opened at the Biltmore Theatre on December 30, 1983 and closed May 15, 1983 after 157 total performances. Before saying goodbye to the Broadway stage in a hit, he had appeared on the Great White Way in two flops in 1978: "Angel", the musical version of Thomas Wolfe's "Look Homeward, Angel" (which lasted but five performances) and the Australian professional football club drama "Players" (which lasted 23 performances). For the Joseph Papp Public Theatre/New York Shakespeare Festival, he had appeared in Off-Broadway in "More Than You Deserve" in the 1973-1974 season and, in "Grand Magic", during the 1978-1979 season, for which he won an Obie Award. On the radio, Gwynne appeared in 79 episodes of "The CBS Radio Mystery Theatre" between 1975 and 1982.

With time, his characterization of Herman Munster began to fade and he began establishing himself as a film character actor of note in the 1980s with well-reviewed appearances in The Cotton Club (1984), Ironweed (1987), Disorganized Crime (1989) and Pet Sematary (1989), in which his character, Jud Crandall, was based on author Stephen King, who himself is quite tall. Gwynne also made a memorable turn as the judge who battles with the eponymous My Cousin Vinny (1992), his last film. Critic and cinema historian Mick LaSalle cited Gwynne's performance as Judge Chamberlain Haller in his August 2003 article "Role call of overlooked performances is long", writing: "Half of what made Joe Pesci funny in this comedy was the stream of reactions of Gwynne, as the Southern Judge, a Great Dane to Joe Pesci's yapping terrier."

Gwynne sang professionally, painted, sculpted, wrote & illustrated children's books, including: "The King Who Rained" (1970); "A Chocolate Moose for Dinner" (1976); "A Little Pigeon Toad" (1988) and "Pondlarker" (1990). He wrote 10 books in all and "The King Who Rained", "A Chocolate Moose for Dinner" and "A Little Pigeon Toad", which all were published by the prestigious house Simon & Schuster, are still in print. In the first part of his professional life, Gwynne lived a quiet life in suburban Bedford, New York and avoided the Hollywood and Broadway social scenes. He married his first wife Foxy in 1952. They had five children and divorced in 1980. He and his second wife Deb, whom he married in 1981, lived in a renovated farmhouse in rural Taneytown, Maryland. His neighbors described him as a good friend and neighbor who kept his personal and professional lives separate.

Fred Gwynne died on July 2, 1993, in Taneytown, Maryland, after a battle with cancer of the pancreas. He was just eight days shy of turning 67 years old. He is sorely missed by those that who grew up delighted by his Officer Francis Muldoon and Herman Munster and were gratified by his late-career renaissance on film.

Born Raymond William Stacy Burr on May 21, 1917 in New Westminster, British Columbia, he spent most of his early life traveling. As a youngster, his father moved his family to China, where the elder Burr worked as a trade agent. When the family returned to Canada, Raymond's parents separated. He and his mother moved to Vallejo, California, where she raised him with the aid of her parents. As he got older, Burr began to take jobs to support his mother, younger sister and younger brother. He took jobs as a ranch hand in Roswell, New Mexico; as a deputy sheriff; a photo salesman; and even as a nightclub singer.

During World War II, he served in the United States Navy. In Okinawa, he was shot in the stomach and sent home. In 1946, Burr made his film debut in San Quentin (1946). From there, he appeared in more than 90 films before landing the titular character on Perry Mason (1957), the role for which he was best-known. Decades later, he reprised the role opposite former co-star Barbara Hale in a series of NBC television movies. At age 65, he returned to teaching drama as a professor of theatre at Sonoma State University, Rohnert Park.

After a brave battle with cancer, Burr died at age 76 on September 12, 1993 at his ranch home in Geyserville, Sonoma County, California. Married once, the union ended in divorce. He had no children.

Don Ameche was a versatile and popular American film actor in the 1930s and '40s, usually as the dapper, mustached leading man. He was also popular as a radio master of ceremonies during this time. As his film popularity waned in the 1950s, he continued working in theater and some TV. His film career surged in a comeback in the 1980s with fine work as an aging millionaire in Trading Places (1983) and a rejuvenated oldster in Cocoon (1985).

Ameche was born Dominic Felix Amici in Kenosha, Wisconsin, to Barbara Edda (Hertel) and Felice Amici, a bartender.

Harvard-educated stage and screen actor Richard Jordan was born into a socially prominent family on July 19, 1937 in New York City, the grandson of Learned Hand, the greatest American jurist never to have served on the U.S. Supreme Court. Newbold Morris, his stepfather, was a member of the New York City Council during Mayor Fiorello LaGuardia's administration. Young Richard was educated in private Manhattan schools and then at the exclusive Hotchkiss prep school in Lakeville, Connecticut. While at Hotchkiss, he was outstanding as the eponymous lead of the school play "Mr. Roberts", which won him a place in the Sharon, Connecticut summer stock company. Jordan went to England as an exchange student at the Sherbourne School, a college (private school) that was over 1,000 years old. After graduating from Sherbourne, Jordan entered Harvard College and took his degree in three years.

At Harvard, Jordan was a member of the Dramatic Club, both as an actor and as a director. It was while at Harvard that he decided to become a professional actor and began performing with off-campus stage companies. After graduating from Harvard, Jordan launched what was to be a prolific stage career in New York, making his Broadway debut in December 1961 in the play "Take Her, She's Mine" under the direction of the venerable George Abbott in Biltmore Theatre. The play, which starred Art Carney, Elizabeth Ashley in a Tony Award-winning turn, and Heywood Hale Broun, was a hit, playing 404 performances.

Jordan next appeared in a one-night flop, in "Bicycle Ride to Nevada", which opened and closed on September 24, 1963. He was more lucky with his next play, "Generation", a comedy starring Henry Fonda that played for 300 performances in the 1965-66 season. He last appeared on Broadway in a success d'estime, John Osborne's "A Patriot for Me", directed by Peter Glenville and starring Maximilian Schell and Tommy Lee Jones, who was making his Broadway debut. By that time, Jordan had established himself as a leading player Off-Broadway and Off-Off-Broadway, which accounted for the majority of his over 100 New York stage appearances.

Jordan, as actor and director, was a major force in the development of New York's "Off-Off-Broadway" theater that flourished in the 1960s. He was one of the founders of the Gotham Arts Theater, which put on plays in an old funeral parlor on West 43rd Street. Fittingly, the company's first play was about necrophilia. Jordan engaged young New York artists to design the sets, the results of which were not always auspicious. Jordan said of this development, "With our weirdo plays against their far-out sets...it was total insanity!" He made a significant breakthrough, career-wise, with his appearance in the anti-war play "The Trial Of The Catonsville Nine" in both New York and California.

Jordan spent eight years with Joseph Papp's New York Shakespeare Festival. He made his debut with Papp's Shakespeare Festival in 1963, playing "Romeo" opposite the "Juliet" of Kathleen Widdoes, the fellow Papp stock company member who would become his wife, in Papp's Shakespeare in the Park series. The couple married in 1964, and their eight-year marriage produced a daughter, Nina Jordan, born in 1964, who would later co-star with her father in the movie Old Boyfriends (1979).

Although he appeared on television during the 1960s, the tall, handsome and talented Jordan did not make his motion picture debut until 1971, when he appeared in a supporting role in Michael Winner's horse opera Lawman (1971), which featured a first-rate cast, including Burt Lancaster, Robert Ryan, Lee J. Cobb and Robert Duvall. However, it was his role as the baby-faced, amoral Treasury agent in The Friends of Eddie Coyle (1973) that made him a known commodity on-screen, while it was the monumental mini-series Captains and the Kings (1976) that made his reputation. His performance as the Irish immigrant "Joseph Armagh" brought him an Emmy nomination and a Golden Globe award, and it also brought him his long-time companion, co-star Blair Brown, whom he lived with for many years and by whom he had a son.

An actor rather than a star, Jordan played many unsympathetic roles, including that of Nazi Albert Speer in the TV movie The Bunker (1981). He continued to appear on the stage, Off-Broadway and in stock companies touring the major cities of the U.S., while appearing in films and on TV. Jordan was the manager of the L.A. Actors Theater in Los Angeles during the 1970s, where he produced, directed and wrote his own plays. For the 1983-84 Off-Broadway season, he won an Obie Award for his performance in Czech playwright Václav Havel's "A Private View". He won the Los Angeles Drama Critics Circle Award for directing Havel's "Largo Desolato" at the Taper, Too in 1987.

In 1992, Jordan had begun filming The Fugitive (1993) when his fatal illness forced him to leave the production. Thus, Jordan's final role was that of "General Lewis Armistead" in the film Gettysburg (1993), which was a labor of love for him. He was close friends with Michael Shaara, the author of the novel "The Killer Angels", which the movie was based upon, and contributed to the screenplay. Jordan's last appearance as an actor was the death of his on-screen character, "General Armistead".

Richard Jordan died in Los Angeles, California of a brain tumor on August 30, 1993. He was 56 years old.

The women who both attracted and frightened him and an Italy dominated in his youth by Mussolini and Pope Pius XII - inspired the dreams that Fellini started recording in notebooks in the 1960s. Life and dreams were raw material for his films. His native Rimini and characters like Saraghina (the devil herself said the priests who ran his school) - and the Gambettola farmhouse of his paternal grandmother would be remembered in several films. His traveling salesman father Urbano Fellini showed up in La Dolce Vita (1960) and 8½ (1963). His mother Ida Barbiani was from Rome and accompanied him there in 1939. He enrolled in the University of Rome. Intrigued by the image of reporters in American films, he tried out the real life role of journalist and caught the attention of several editors with his caricatures and cartoons and then started submitting articles. Several articles were recycled into a radio series about newlyweds "Cico and Pallina". Pallina was played by acting student Giulietta Masina, who became his real life wife from October 30, 1943, until his death half a century later. The young Fellini loved vaudeville and was befriended in 1940 by leading comedian Aldo Fabrizi. Roberto Rossellini wanted Fabrizi to play Don Pietro in Rome, Open City (1945) and made the contact through Fellini. Fellini worked on that film's script and is on the credits for Rosselini's Paisan (1946). On that film he wandered into the editing room, started observing how Italian films were made (a lot like the old silent films with an emphasis on visual effects, dialogue dubbed in later). Fellini in his mid-20s had found his life's work.

The son of a sales clerk and a department store owner, Bill Bixby was the sixth-generation Californian born as Wilfred Bailey Bixby, on January 22, 1934, in San Francisco, California. An only child growing up in the 1940s and 1950s, he attended schools in the same area, took ballroom dance lessons, before attending Lowell High School, where he excelled in drama. After his graduation from high school, he attended San Francisco City College, where he majored in drama. He transferred to the University of California-Berkeley, where he majored in the pre-law program, but never stopped falling in love with his interest in acting. After almost graduating, he left his native San Francisco, to travel to Los Angeles, where he became a lifeguard and a bellhop.

Two years later, in 1959, two executives noticed him and hired him immediately for commercial work and modeling, in Detroit, Michigan. At the same time, he auditioned for theater roles. He joined the Detroit Civic Theatre Company and made his professional stage debut in the musical, "The Boy Friend." Long after his trip to Michigan, he continued doing commercial work and made numerous guest appearances on popular TV sitcoms.

He made his TV debut in an episode of The Many Loves of Dobie Gillis (1959). He also did many other roles, most notably as "Charles Raymond" in The Joey Bishop Show (1961). After many guest and recurring roles, he landed a co-starring role opposite Ray Walston in My Favorite Martian (1963), in which he portrayed a newspaper reporter playing host to a visitor from another planet. After the first season, it became a hit and Bixby became a household name to millions of fans who liked the show. The show was going well until its cancellation in 1966, which left Bixby in the dark, for the time being. However, he finally got the chance to go onto the big screen. The first of the four post-"Martian" 60s movies he played in was the Western, Ride Beyond Vengeance (1966). The following year, he played in Doctor, You've Got to Be Kidding! (1967) and, soon after, he was approached by Elvis Presley to appear in both Clambake (1967), and Speedway (1968). Afterwards, he once again returned to series television, this time playing widowed father, "Tom Corbett", on The Courtship of Eddie's Father (1969), based on the popular 1963 movie. After its first season, it became a much bigger hit than his first show and Bixby, heretofore one of Hollywood's most confirmed bachelors, changed his views on marriage and family, subsequently taking actress Brenda Benet as his bride and fathering a son. He also tried his hand at directing an episode of the series, called "Gifts Are For Giving," about Norman's highly treasured gift. After completing its second season, Bixby received an Emmy nomination for Lead Actor in a Comedy Series, but didn't win. By its third season in 1972, the show had bad scripts and ABC decided to pull the plug.

Once again, Bixby was not long out of work and was offered a chance to star in a lead role as "Anthony Dorian/Anthony Blake," on his first and only NBC dramatic series called, The Magician (1973). The show focused on Anthony performing magic tricks which helped people who were in trouble, and in real-life, Bill became a fine magician, performing to both children and adults. But sadly, the show was canceled after one season due to its expensive costs.

After a seven-year absence from the big screen, he co-starred in another western, opposite Don Knotts and Tim Conway, in The Apple Dumpling Gang (1975). Like most of the theatrical movies he did, it was not a blockbuster at the box office, but was still an average hit. In late 1977, he was offered the role of "Dr. David Bruce Banner," in a two-hour pilot called, The Incredible Hulk (1977). About a physician/scientist who turned into a green monster whenever he became angry, the idea appealed to CBS, and several months later, they premiered a new science fiction-dramatic series, called, The Incredible Hulk (1977). When it debuted as a mid-season replacement, it became the #1 show in the United States, and in many other countries. His character became famous for ripping up shirts each time he turned into the Hulk, played by bodybuilder Lou Ferrigno. Bixby had wanted to direct some episodes, but the time he had to spend in the make-up chair for the transformation sequences made that problematical, and he managed to helm only one segment, "Bring Me the Head of the Hulk," in the fourth season. The series was canceled in 1981 (although the last few episodes didn't air until 1982).

Bixby, once again, came back to series television, acting in, producing and directing his last sitcom, Goodnight, Beantown (1983), on which he played "Matt Cassidy." Chosen for the role of "Jennifer Barnes," was one of Bixby's old friends, Mariette Hartley, who had won an Emmy for her guest appearance in The Incredible Hulk (1977) as Banner's second wife. The two played co-anchor newscasters of a Boston television station whose sparring on and off the air developed into friendship and respect. Discounting a brief, inconsequential return to the network's schedule in the summer of 1984, the series lasted for less than a year, from April 1983 to January 1984.

Bixby now decided to concentrate on directing and worked on Wizards and Warriors (1983), Goodnight, Beantown (1983) and Sledge Hammer! (1986). He also directed the pilot for a New York spy series, "Rockhopper." He also appeared in front of the camera as the host of the daytime anthology series, True Confessions (1985), which dealt with real-life crises of everyday people. Bixby additionally served as host for two shows targeting younger viewers: "Against the Odds," a series of biographies of prominent people, frequently from history, for the Nickelodeon cable channel; and "Once Upon a Classic," a collection of British TV adaptations of literary classics on PBS.

He came back to reprise his role of "Dr. David Banner" from The Incredible Hulk (1977) by acting in, producing, and directing the three spin-off movies: The Incredible Hulk Returns (1988), The Trial of the Incredible Hulk (1989) and The Death of the Incredible Hulk (1990). He also directed TV movies such as Baby of the Bride (1991) and Another Pair of Aces: Three of a Kind (1991).

In April 1991, while directing one of his last movies, he became very ill and was diagnosed with prostate cancer. He underwent surgery and by December, his cancer seemed to be in remission, so he came back to guest star as "Nick Osborne" in a two-hour TV movie/pilot called Diagnosis Murder: Diagnosis of Murder (1992). In mid-1992, while his cancer continued to be in remission, Bixby returned to work as a director to direct several episodes of the popular NBC sitcom, Blossom (1990), where he became the main director of the show. At first, he hid his illness from the cast and crew, until one of the producers found out, and then he announced publicly that he wanted to continue working until he could no longer do so. Prior to going public with his cancer, he directed a TV movie starring Roseanne Barr and Tom Arnold, The Woman Who Loved Elvis (1993), which was his final directing project.

Unfortunately, the cancer returned by mid-1993 and, on November 21, 1993, six days after directing his last episode on "Blossom" (1991), Bill Bixby died at age 59 in his home after a two-year battle with cancer. For over 30 years, he was in great demand and his big roles and directing credits have been a personal testimony to his fans. His life is gone, but his legacy lives on for years to come.

Myrna Williams, later to become Myrna Loy, was born on August 2, 1905 in Helena, Montana. Her father was the youngest person ever elected to the Montana State legislature. Later on her family moved to Radersburg where she spent her youth on a cattle ranch. At the age of 13, Myrna's father died of influenza and the rest of the family moved to Los Angeles. She was educated in L.A. at the Westlake School for Girls where she caught the acting bug. She started at the age of 15 when she appeared in local stage productions in order to help support her family. Some of the stage plays were held in the now famous Grauman's Theater in Hollywood. Mrs. Rudolph Valentino happened to be in the audience one night who managed to pull some strings to get Myrna some parts in the motion picture industry. Her first film was a small part in the production of What Price Beauty? (1925). Later she appeared the same year in Pretty Ladies (1925) along with Joan Crawford. She was one of the few stars that would start in silent movies and make a successful transition into the sound era. In the silent films, Myrna would appear as an exotic femme fatale. Later in the sound era, she would become a refined, wholesome character. Unable to land a contract with MGM, she continued to appear in small, bit roles, nothing that one could really call acting. In 1926, Myrna appeared in the Warner Brothers film called Satan in Sables (1925) which, at long last, landed her a contract. Her first appearance as a contract player was The Caveman (1926) where she played a maid. Although she was typecast over and over again as a vamp, Myrna continued to stay busy with small parts. Finally, in 1927, she received star billing in Bitter Apples (1927). The excitement was short lived as she returned to the usual smaller roles afterward. Myrna would take any role that would give her exposure and showcase the talent she felt was being wasted. It seemed that she would play one vamp after another. She wanted something better. Finally her contract ran out with WB and she signed with MGM where she got two meaty roles. One was in the The Prizefighter and the Lady (1933), and the other as Nora Charles in The Thin Man (1934) with William Powell. Most agreed that the Thin Man series would never have been successful without Myrna. Her witty perception of situations gave her the image that one could not pull a fast one over on the no-nonsense Mrs. Charles. After The Thin Man, Myrna would appear in five more in the series. Myrna was a big box-office draw. She was popular enough that, in 1936, she was named Queen of the Movies and Clark Gable the king in a nationwide poll of movie goers. Her popularity was at its zenith. With the outbreak of World War II, Myrna all but abandoned her acting career to focus on the war effort. After making THE SHADOW OF THE THIN MAN in November of 1941, Myrna more or less stayed away from Hollywood for five years. She broke this hiatus to appear in one Thin Man sequel while devoting most of her time working with the Red Cross. When she did return her star quality had not diminished a bit, as evidenced by her headlining The Best Years of Our Lives (1946). The film did superbly at the box-office, winning the Academy Award for Best Picture in 1947. With her career in high gear again, Myrna played opposite Cary Grant in back-to-back hits The Bachelor and the Bobby-Soxer (1947) and Mr. Blandings Builds His Dream House (1948). She continued to make films through the '50s but the roles started getting fewer, her biggest success coming at the start of that decade with Cheaper by the Dozen (1950). By the 1960s the parts had all but dried up as producers and directors looked elsewhere for talent. In 1960 she appeared in Midnight Lace (1960) and was not in another film until 1969 in The April Fools (1969). The 1970s found her mainly in TV movies, not theatrical productions, except for small roles in Airport 1975 (1974) and The End (1978). Her last film was in 1981 called Summer Solstice (1981), and her final acting credit was a guest spot on the sitcom Love, Sidney (1981) in 1982. By the time Myrna passed away, on December 14, 1993, at the age of 88, she had appeared in a phenomenal 129 motion pictures. She was buried in Helena, Montana.

Stewart Granger was born James Lablache Stewart in London, the great grandson of the opera singer Luigi Lablache. He attended Epsom College but left after deciding not to pursue a medical degree. He decided to try acting and attended Webber-Douglas School of Dramatic Art, London. By 1935, he made his stage debut in "The Cardinal" at the Little Theatre Hull . He was with the Birmingham Repertory Company between 1936 and 1937 and, in 1938, he made his debut in the West End, London in "The Sun Never Sets". He joined the Old Vic company in 1939, appearing in 'Tony Draws a Horse' at the Criterion and 'A House in the Square' at the St Martins He had been gradually rising through the ranks of better stage roles when World War II began, and he joined the British Army in 1940. However, he developed an ulcer (1942) which brought his release from military service.

With a dearth of leading men for British movies he quickly landed his first film opportunity The Man in Grey (1943) for Gainsborough Pictures. This was the first installment of the company's successful series of romance films. Not to be confused with American actor James Stewart, James Lablanche Stewart became Stewart Granger (though he was "Jimmy" to his off-screen friends). But the film work was unsatisfying. He was forever cast as the dashing hero type, while fellow up-and-coming actor James Mason always garnered the more substantial Gainsborough part. When Mason got the nod from Hollywood, Granger inherited better parts and, in some star company in one case, the sophisticated Caesar and Cleopatra (1945) with Claude Rains and Vivien Leigh and a very young bit player already being noticed, Jean Simmons. Granger's lead roles to the end of the decade were substantial, but Simmons was unwittingly moving on into British film history with small but memorable roles for David Lean, Michael Powell, and, in a big way, Laurence Olivier, as "Ophelia" in his historic Hamlet (1948) for which she received an Oscar nomination. Granger and she were brought together as co-stars in the comedy Adam and Evalyn (1949). This time around, the chemistry off-camera was there as well, and they became engaged. About the same time, Granger's hope of interesting Hollywood was realized for him and his bride-to-be. He married Simmons and signed with MGM in 1950. Once in Hollywood, he was getting star billing leads in romantic roles that the audiences loved, but he found them still unsatisfying. He also found himself heir apparent to Errol Flynn as a swashbuckler in two popular films: the remake of The Prisoner of Zenda (1952) and Scaramouche (1952). He and Simmons were paired in Young Bess (1953), where Granger had the romantic lead, but Simmons was the focus of the movie.

Through the 50s, the films of each might have fairly equal production values, but as the fortunes of Hollywood go, Simmons was the more memorable star in films that were more popular-some very big hits, the later Elmer Gantry (1960) and Spartacus (1960). That sort of undeclared competition for a married Hollywood couple was poison to the marriage. In 1960, they divorced. Granger did a lot of work in Germany, along with some in Italy and Spain in the 60s. Interestingly, in the same period Simmons was finding the same lack of challenging roles in the US. In the 70s and 80s, Granger was relegated to small screen subsistence with regular TV roles along with a few movies and a stint on the New York stage. And ironically, Simmons was in the same boat during that period. Granger's typecasting was nothing new, but certainly his often scathing criticism of Hollywood and its denizens that came out in his autobiography "Sparks Fly Upward" was understandable and rang true with so many other stories dealing with illusive stardom. Though he was candid in his disgust with his whole career - and admittedly he did not have the depth for the range of roles allotted to bigger named actors - nonetheless he always turned in solid performances in the roles that became his legacy.

An American lead actor and supporting actor, rugged and commanding Glenn Corbett's background didn't seem like it would lead to Hollywood stardom. The son of a garage mechanic, Corbett served a hitch in the navy and later met Judy, the woman who would become his wife, while she was working at a college. With her encouragement, Corbett began to get parts in campus theatricals, and it was while he was in one of these that he came to the attention of the powers-that-be at Columbia Pictures, which signed him to a contract.

His film debut was in The Crimson Kimono (1959). That was followed by supporting roles in The Mountain Road (1960) and Man on a String (1960). He eventually got the lead role in William Castle's suspense thriller Homicidal (1961) and appeared in the TV series Route 66 (1960). His work in "Route 66" got him attention and he was cast in a new series, The Road West (1966), but that was short-lived.

Corbett was also busy making major theatrical films in the 1970s. He snagged substantial supporting parts in two of John Wayne's westerns, playing good guy Pat Garrett in Chisum (1970) and one of the gang who kidnaps Wayne's son in Big Jake (1971), but he took the lead role in Nashville Girl (1976) and Universal's war epic Midway (1976). Throughout the '80s Corbett stayed busy with a regular part in the cast of the long-running television series Dallas (1978) up until his death in 1993 from lung cancer.

Moses Gunn was born on 2 October 1929 in St. Louis, Missouri, USA. He was an actor, known for Shaft (1971), Rollerball (1975) and Heartbreak Ridge (1986). He was married to Gwendolyn Mumma Landes. He died on 16 December 1993 in Guilford, Connecticut, USA.

Known as "The First lady of the American Theater", Helen Hayes had a legendary career on stage and in films and television that spanned over eighty years. Hayes was born in Washington, D.C., to Catherine Estelle "Essie" Hayes, an actress who worked in touring companies, and Francis van Arnum Brown, a clerk and salesman. Her maternal grandparents were Irish. A child actress in the first decade of the 20th century, by the time she turned twenty in 1920 she was well on her way to a landmark career on the American stage, becoming perhaps the greatest female star of the theatre during the 1930s and 1940s. She made a handful of scattered films during the silent era and in 1931 was signed to MGM with great fanfare to begin a career starring in films. Her first three films, Arrowsmith (1931), The Sin of Madelon Claudet (1931), and A Farewell to Arms (1932), were great hits and she would win the 1932 Oscar for Best Actress for her work in Madelon Claudet. Alas, her lack of screen glamour worked against her becoming a box office star during the golden era of Hollywood, and her subsequent films were often not well received by critics. Within four years she had abandoned the screen and returned to the stage for the greatest success of her career, "Victoria Regina", which ran for three years starting in 1935. Helen Hayes returned to motion pictures with a few featured roles in 1950s films and frequently appeared on television. In 1970, she made a screen comeback in Airport (1970), a role originally offered to Claudette Colbert, who declined it, earning Hayes her second Oscar, this time for Best Supporting Actress. Helen Hayes retired from the stage in 1971 but enjoyed enormous fame and popularity over the next fifteen years with many roles in motion pictures and television productions, retiring in 1985 after starring in the TV film Murder with Mirrors (1985).

Lillian Diana Gish was born on October 14, 1893, in Springfield, Ohio. Her father, James Lee Gish, was an alcoholic who caroused, was rarely at home, and left the family to, more or less, fend for themselves. To help make ends meet, Lillian, her sister Dorothy Gish, and their mother, Mary Gish, a.k.a. Mary Robinson McConnell, tried their hand at acting in local productions. Lillian was six years old when she first appeared in front of an audience. For the next 13 years, she and Dorothy appeared before stage audiences with great success. Had she not made her way into films, Lillian quite possibly could have been one of the great stage actresses of all time; however, she found her way onto the big screen when, in 1912, she met famed director D.W. Griffith. Impressed with what he saw, he immediately cast her in her first film, An Unseen Enemy (1912), followed by The One She Loved (1912) and My Baby (1912). She would make 12 films for Griffith in 1912. With 25 films in the next two years, Lillian's exposure to the public was so great that she fast became one of the top stars in the industry, right alongside Mary Pickford, "America's Sweetheart".

In 1915, Lillian starred as Elsie Stoneman in Griffith's most ambitious project to date, The Birth of a Nation (1915). She was not making the large number of films that she had been in the beginning because she was successful and popular enough to be able to pick and choose the right films to appear in. The following year, she appeared in another Griffith classic, Intolerance (1916). By the early 1920s, her career was on its way down. As with anything else, be it sports or politics, new faces appeared on the scene to replace the "old", and Lillian was no different. In fact, she did not appear at all on the screen in 1922, 1925 or 1929. However, 1926 was her busiest year of the decade with roles in La Bohème (1926) and The Scarlet Letter (1926). As the decade wound to a close, "talkies" were replacing silent films. However, Lillian was not idle during her time away from the screen. She appeared in stage productions, to the acclaim of the public and critics alike. In 1933, she filmed His Double Life (1933), but did not make another film for nine years.

When she returned in 1943, she appeared in two big-budget pictures, Commandos Strike at Dawn (1942) and Top Man (1943). Although these roles did not bring her the attention she had had in her early career, Lillian still proved she could hold her own with the best of them. She earned an Oscar nomination as Best Supporting Actress for her role of Laura Belle McCanles in Duel in the Sun (1946), but lost to Anne Baxter in The Razor's Edge (1946).

One of the most critically acclaimed roles of her career came in the thriller The Night of the Hunter (1955), also notable as the only film directed by actor Charles Laughton. In 1969, she published her autobiography, "The Movies, Mr. Griffith, and Me". In 1987, she made what was to be her last motion picture, The Whales of August (1987), a box-office success that exposed her to a new generation of fans. Her 75-year career is almost unbeatable in any field, let alone the film industry. On February 27, 1993, at age 99, Lillian Gish died peacefully in her sleep at her Manhattan apartment in New York City. She never married.

Steve James was often cast in action movies as the hero's sidekick, despite usually being a better actor and fighter than the star. James was raised in New York City, attended C.W. Post College as an Arts and Film major, and upon graduating, became involved in stage work and TV commercials. He started in film as a stuntman, working in such New York productions as Ghostbusters, The Wiz, The Warriors, and The Wanderers. His first major film role was as Robert Ginty's sidekick in The Exterminator; he later played sidekick to such stars as Michael Dudikoff (3 times), David Carradine, and Chuck Norris. His last 2 films were the pilot for the TV series "M.A.N.T.I.S." which aired on the Fox network just a few weeks after his death at age 41 of pancreatic cancer and "Bloodfist V: Human Target" with Don "The Dragon" Wilson which premiered after Steve's death.

The brilliant and versatile London-born stage, radio and TV actress Kate Reid was actually born Daphne Kate Reid in 1930 to Canadian parents, Walter Clarke Reid and Helen Isabel Moore. The family moved back to Ontario before she was a year old. An introverted child of delicate health, Kate sought refuge in books and role-playing and began studying drama in her mid-teens. She apprenticed in summer stock and trained with Uta Hagen and Herbert Berghof at the HB Studio in New York. Earning critical acclaim as Lizzie in "The Rainmaker"and as Masha in "The Three Sisters", her decade with the Stratford Festival in Canada would establish her as one of North America's most accomplished actresses.

In the Shakespearean canon, she played numerous characters, from Lady Macbeth to the shrewish Katharina, who may or may not have been tamed by the end of the comedy of the same name. She often played women older than she actually was, and battled alcohol and weight problems throughout much of her life. She was to have taken "The Rainmaker" to England's West End at one point but severe anxiety attacks kept her from doing so. She made her Broadway debut in 1962, playing the matinée Martha in Edward Albee's "Who's Afraid of Virginia Woolf?", which role was played 7 out of eight weekly performances by Reid's legendary mentor, Uta Hagen.

Filming for Reid would be very erratic during her career. She played Natalie Wood's mother in This Property Is Condemned (1966) and may be best-remembered as a scientist in the thriller The Andromeda Strain (1971) or as the brittle, bitter, boozing Claire in A Delicate Balance (1973), opposite such heavyweights as Katharine Hepburn, Paul Scofield, Lee Remick, Joseph Cotten, and Betsy Blair. She earned two Tony nominations in the 1960s for her participation in the plays "Dylan" and "Slapstick Tragedy". Further respect came in the package of Arthur Miller's "The Price" and John Guare's "Bosoms and Neglect". On U.S. television, she played the skeptical mother of a murder witness in the Columbo (1971) episode Dead Weight (1971), as well as a treacherous foreign agent in the Scarecrow and Mrs. King (1983) episode The First Time (1983). She also managed a recurring part on Dallas (1978) as well as regular roles on the short-lived TV series Gavilan (1982) and Morningstar/Eveningstar (1986).

Plagued by ill health in later years, Reid nevertheless offered a couple of outstanding contributions. She was the invalid mistress in the film Atlantic City (1980) opposite Burt Lancaster, and portrayed the devoted, long-suffering wife Linda Loman alongside Dustin Hoffman in the critically-acclaimed 1984 remake of Miller's "Death of a Salesman" on Broadway. She and Hoffman (who was seven years her junior) subsequently preserved their roles with a TV adaptation the following year. Likewise, she appeared in the television movie Morning's at Seven (1982), reprising and preserving on celluloid her performance in the same role in the successful Broadway production. Her last role was in the miniseries Murder in the Heartland (1993). Reid succumbed to brain cancer at age 62 in Ontario, Canada.

Hervé Villechaize was born in Montauban, France on April 23, 1943. He stopped growing very early and his father (who was a surgeon) tried to find a cure by visiting several doctors and hospitals. But there was none, so Hervé had to live with his small height and also with undersized lungs. He studied at the Beaux-Arts in Paris and made an exhibition of his own paintings, which were well received. At 21, he left France for the USA where he continued to paint and to make photographs. He also started to participate in some movies and was quickly offered several roles for plays and then for cinema. His first big success was The Man with the Golden Gun (1974) where he was a killer associated to the villain Scaramanga (played by Christopher Lee). He inspired the TV-series Fantasy Island (1977) where he took the role of "Tattoo", the faithful servant of "Mr. Roarke" (Ricardo Montalban). This series was a great success and, thanks to it, Villechaize became famous and rich, mostly because of his enigmatic and charming smile.

In 1983, he argued with the producers of the show in order to earn as much money as Montalban but, instead, he was fired; he also lost his model-actress wife. The series continued without him but stopped one year later, when the media response meter decreased because of the lack of Tattoo's character!

Villechaize became alcoholic and depressed, so he missed several roles that he was offered. His health problems also increased (mostly suffering from ulcers and a spastic colon), and he nearly died of pneumonia in 1992. On the afternoon of Saturday September 4th, 1993, after having watched a movie, he wrote a note and made a tape recording before shooting himself in his backyard. His common-law wife, Kathy Self, discovered his body and called the ambulance which took him to the Medical Center of North Hollywood where he died at 3:40 pm. Villechaize was cremated and his ashes were scattered off Point Fermin, in Los Angeles.

Pretty, demure-looking Janet Margolin was born in New York City in 1943 and educated at the New York High School of Performing Arts. The long-haired brunette was discovered for films by director Frank Perry as she was making great strides as a teen on Broadway. He saw her in the play "Daughter of Silence," for which she earned a Tony nomination, and took her immediately to Hollywood, casting her as the schizophrenic lass in David and Lisa (1962) opposite Keir Dullea. She bowled over the critics. The movie, which was praised for its handling of delicate, mature subject matter, should have paved the way to stardom for Janet but strangely didn't. She churned out uneventful second leads in such notable fare as Bus Riley's Back in Town (1965), The Greatest Story Ever Told (1965), and Nevada Smith (1966). Though she had better luck with her ingenue roles in Enter Laughing (1967) and Woody Allen's Take the Money and Run (1969), the offers starting drying up by decade's end and she turned to TV work. Woody used her again, albeit briefly, in Annie Hall (1977). After a brief first marriage, Janet met and married actor Ted Wass of TV's Soap (1977) and Blossom (1990) fame. Janet was diagnosed with ovarian cancer and died at age 50.

Daniel Seymour Katz (Dan Seymour's original name) attended Senn High School in Chicago and graduated from the University of Chicago with a B.S. in Fine Arts. While in college, he worked in many school plays and also worked at night as an emcee at various Chicago nightclubs becoming quite successful. He moved to Hollywood, where his rotund build (265 pounds), and swarthy looks made him perfect for a Hollywood heavy, and changed his name. He wed Evelyn Schwartz in 1949. The couple had two children: Jeff (born 1950) and Greg (born 1954).

Charles Aidman originally planned a career as an attorney, but was sidetracked during World War II and naval officer training at DePaul university. During a speech class the instructor, who also headed the drama department, saw Aidman as ideal for a role in an upcoming play. "I did the play and enjoyed it. It was the first play I was in, in my life...I've been acting ever since."

Born in Wilkes-Barre, Pennsylvania, on February 11, 1909, Joseph Leo Mankiewicz first worked for the movies as a translator of intertitles, employed by Paramount in Berlin, the UFA's American distributor at the time (1928). He became a dialoguist, then a screenwriter on numerous Paramount productions in Hollywood, most of them Jack Oakie vehicles. Still in his 20s, he produced first-class MGM films, including The Philadelphia Story (1940). Having left Metro after a dispute with studio chief Louis B. Mayer over Judy Garland, he then worked for Darryl F. Zanuck at 20th Century-Fox, producing The Keys of the Kingdom (1944), when Ernst Lubitsch's illness first brought him to the director's chair for Dragonwyck (1946). Mankiewicz directed 20 films in a 26-year period, successfully attempted every kind of movie from Shakespeare adaptation to western, from urban sociological drama to musical, from epic film with thousands of extras to a two-character picture. A Letter to Three Wives (1949) and All About Eve (1950) brought him wide recognition along with two Academy Awards for each as a writer and a director, seven years after his elder brother Herman J. Mankiewicz won Best Screenplay for Citizen Kane (1941). His more intimate films like The Ghost and Mrs. Muir (1947), The Barefoot Contessa (1954)--his only original screenplay--and The Honey Pot (1967) are major artistic achievements as well, showing Mankiewicz as a witty dialoguist, a master in the use of flashback and a talented actors' director (he favored English actors and had in Rex Harrison a kind of alter-ego on the screen).