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Val Kilmer was born in Los Angeles, California, to Gladys Swanette (Ekstadt) and Eugene Dorris Kilmer, who was a real estate developer and aerospace equipment distributor. His mother, born in Indiana, was from a Swedish family, and his father was from Texas. Val studied at Hollywood's Professional's School and, in his teens, entered Juilliard's drama program. His professional acting career began on stage, and he still participates in theater; he played Hamlet at the 1988 Colorado Shakespeare Festival. His film debut was in the 1984 spoof Top Secret! (1984), wherein he starred as blond rock idol Nick Rivers. He was in a number of films throughout the 1980s, including the 1986 smash Top Gun (1986). Despite his obvious talent and range, it wasn't until his astonishingly believable performance as Jim Morrison in Oliver Stone's The Doors (1991) that the world sat up and took notice. Kilmer again put his good baritone to use in the movie, performing all of the concert pieces. Since then, he has played two more American legends, Elvis Presley in True Romance (1993) and Doc Holliday in Tombstone (1993). In July 1994, it was announced that Kilmer would be taking over the role of Batman/Bruce Wayne from Michael Keaton.

Carolyn Sue Jones was born in 1930, in Amarillo, Texas, to homemaker Chloe (or Cloe) Jeanette Southern (1906-1979), and Julius Alfred Jones (1897-1979), a barber. Her sister was Bette (later Mrs. Moriarty). Carolyn was an imaginative child, much like her mother; she and her mother shared the same birthday (April 28).

In 1934, her father abandoned the family and her mother moved them in with her own parents, also in Amarillo. As a child, Carolyn suffered from severe asthma. Although she loved movies, she was often too sick to attend, so she listened to her favorites, Danny Kaye and Spike Jones and read as many movie fan magazines as she could. She dreamed of attending the famed Pasadena Playhouse and received many awards at school for speech, poetry, and dramatics. In 1947, she was accepted as a student at the Pasadena Playhouse, and her grandfather agreed to pay for her classes. She worked in summer stock to supplement her income, graduating in 1950.

She gave herself a complete head-to-toe makeover, including painful cosmetic nose surgery to make herself ready for movie roles. Working as an understudy at the Players Ring Theater, she stepped in when the star left to get married. She was seen by a talent scout from Paramount and given a screen test, which went well. She made her first appearance in The Turning Point (1952). She did some other work during her 6-month contract, but when it ended, Paramount, suffering from television's impact, let it lapse. She quipped, "They let me and 16 secretaries go!"

She started working in television but kept busy on stage as well. There, she met a fellow Texan, a young man named Aaron Spelling, and they became a couple. She made a breakthrough in the 3-D movie House of Wax (1953) and garnered excellent reviews. Aaron was still struggling, so he felt he wasn't able to propose to Carolyn; she finally proposed to him. They were married in April 1953. Neither was earning much, but they really enjoyed each other and their life. Many saw them as an ideal couple. She decided against having children as she felt she could not juggle the demands of both a career and a family.

Columbia Pictures saw her and wanted to test her for the part of prostitute Alma Burke in From Here to Eternity (1953), but she got extremely sick with pneumonia and the part went to Donna Reed, nine years older, who won an Academy Award. Jones did, however, achieve success in the science-fiction classic Invasion of the Body Snatchers (1956), a subtle allegory of the times (McCarthyism). And the famous filmmaker Alfred Hitchcock cast her in The Man Who Knew Too Much (1956) opposite James Stewart and Doris Day. Meanwhile, Aaron had little success as an actor and Carolyn pushed him to become a writer, even threatening to leave him. She constantly promoted his scripts whenever she could and he was ultimately hired by Dick Powell. Carolyn, meanwhile, was successful once more in The Bachelor Party (1957) (famous line, "Just say you love me--you don't have to mean it!"). For this role, she surprised cast members by dyeing her hair black and cutting it short. This stunning look served her well for a number of roles. For her eight minutes on screen, she received glowing reviews and was nominated for an Academy Award but lost. However, she did win the Golden Globe Award and the Laurel Award for Marjorie Morningstar (1958). She followed this with an impressive appearance in King Creole (1958), generally regarded as Elvis Presley's best film. She then gave arguably her best performance ever in Career (1959), but the film was not commercially successful. She played a serious role in this, leaving the kooky role she might have played to Shirley MacLaine.

As Aaron's career soared, the marriage started to fail. They separated in October 1963 and amicably divorced in August 1965, with Carolyn asking for no alimony. They remained friends. She worked at various roles including two episodes of Burke's Law (1963) for which she received a Golden Globe nomination. Soon, she got the part for which she will best be remembered, that of Morticia Addams in The Addams Family (1964). She spent two years in this role. Her costume was designed to copy the cartoon drawings and no doubt inspired such imitators as Cassandra Peterson (Elvira, Mistress of the Dark). The show went head-to-head with The Munsters (1964) and Bewitched (1964).

The show was a hit and she received all the fame she had craved. However, the network decided to cancel the show, despite its success, after only two years. Typecast as Morticia but without the income that a few more years would have provided, she found life difficult and roles few. While acting on the road, she married her voice coach, Herbert Greene, a well-known and respected Broadway conductor and musical director, and they moved together to Palm Springs, California. After seven years, she left him and returned to Hollywood, determined to try to restart her career. She was surprisingly successful and performed in several shows, including Wonder Woman (1975), where she played Hippolyta, the mother of Wonder Woman (Lynda Carter) and Wonder Girl (Debra Winger). She also appeared in the landmark miniseries Roots (1977). She appeared in four episodes of Fantasy Island (1977) and one episode of The Love Boat (1977), two shows produced by her former husband, Aaron Spelling. In 1979, both of Jones's parents died; her mother from pancreatic cancer. She took on the role of Myrna Clegg on the soap Capitol (1982) from 1982 to 1983, despite having been diagnosed with colon cancer in 1981. She underwent aggressive treatment for the cancer, but it returned during her time on the show and she was told it was terminal.

She played some scenes despite being confined to a wheelchair and working in great pain. Knowing time was short, she married her boyfriend of five years, Peter Bailey-Britton, in September 1982. She died on August 3, 1983, aged 53. She had told her sister Bette that she wanted her epitaph to be "She gave joy to the world." She certainly had many friends who loved her greatly, and many fans who enjoyed her wonderful performances.

This talented actress was born Anne Marie Wersching and grew up in St. Louis, Missouri. She opted early on for a life in the entertainment industry, performing in community theatre and later as a dancer for some fourteen years with a troupe called the St. Louis Celtic Stepdancers. After moving to Chicago, she acted in several touring plays and at the Utah Shakespearean Festival. In 1999, Wersching graduated with a Bachelor of Fine Arts degree in Musical Theatre from the Millikin University School of Theater and Dance in Decatur, Illinois. Moving to Los Angeles, two years later, she appeared in a revival of the Stephen Sondheim-Richard Rodgers-Arthur Laurents musical "Do I Hear a Waltz?" at the Pasadena Playhouse, as well as making her screen debut in an episode of Star Trek: Enterprise (2001).

Testament to her acting skill have been lengthy stints on popular prime time series like 24 (2001) (as the valiant but ill-fated FBI Special Agent Renee Walker), The Vampire Diaries (2009) (Lily Salvatore), Timeless (2016) (as time traveler Emma Whitmore) and Marvel's Runaways (2017) (as charismatic villain turned ally Leslie Dean). She also gave a thoroughly convincing performance as extrovert rookie police officer Julia Brasher, involved with (Harry) Bosch (2014) at LAPD's Hollywood Division on both a professional and a personal level. Their relationship eventually soured in season two, although Brasher returned briefly for two episodes in season 7. Wersching became the third actress to play the dreaded Borg Queen (following in the footsteps of Alice Krige and Susanna Thompson) and did so to chilling effect in season two of Star Trek: Picard (2020). Her steady volume of television work has included guest appearances on Charmed (1998), Supernatural (2005), NCIS (2003), Hawaii Five-0 (2010) and Castle (2009).

Very much at the peak of her career, Annie Wersching was diagnosed with cancer in the summer of 2020, but kept her illness private and continued to work afterwards. She passed away at her home in Los Angeles, California on January 29, 2023, at age 45.

Native New Yorker and Italianate Bruno Kirby tended towards assertive, pushy, streetwise characters and was armed with a highly distinctive scratchy tenor voice that complemented his slim eyes and droopy puss and accentuated his deadpan comedic instincts on film and TV. The well-regarded character actor was born Bruno Giovanni Quidaciolu on April 28, 1949, in New York City, the son of Lucille (Garibaldi) and actor Bruce Kirby. He was raised in NY's Hell's Kitchen section.

In the late 1960s he moved with his family to California. His career began to rev up in the early 1970s with a part in the TV pilot episode of M*A*S*H (1972) and roles in the films The Young Graduates (1971), The Harrad Experiment (1973), Cinderella Liberty (1973) and Superdad (1973). Most notable of all, however, was his featured part as Young Clemenza alongside Robert De Niro's young Vito Corleone in The Godfather Part II (1974). Bruno also played Richard S. Castellano's son in the short-lived ethnic sitcom The Super (1972). Coincidentally, Castellano played older Clemenza in the original The Godfather (1972).

On stage in the 1980s and 1990s, Bruno appeared in "On the Money" (1983) and "Geniuses" (1985) and later replaced Kevin Spacey on Broadway in "Lost in Yonkers" in 1991. In 1997 he showcased off-Broadway, playing writer Alan Zweibel in "Bunny Bunny," Zweibel's tribute to comedienne Gilda Radner and their close 14-year friendship.

Bruno's close association with director Rob Reiner and actor Billy Crystal arguably led to the apex of his film career. In the early 1980s he chummed around with both Reiner and Crystal on a softball team, along with writer/actor/director Christopher Guest. Bruno wound up playing Crystal's best buddy in two of Crystal's biggest box-office hits -- When Harry Met Sally... (1989) and City Slickers (1991). He also appeared in Reiner's cult hit This Is Spinal Tap (1984). Other important film roles for him included his humorless lieutenant in Good Morning, Vietnam (1987), the refined salesman named "Mouse" in Tin Men (1987) and Marlon Brando's nephew in The Freshman (1990), that more or less amusingly parodied the "Godfather" association.

Bruno was equally effective in taut, heavier stories and supported such up-and-coming stars as Leonardo DiCaprio in the dark and downbeat The Basketball Diaries (1995) and Johnny Depp in the mob family-styled drama Donnie Brasco (1997). On TV he was a regular on It's Garry Shandling's Show. (1986), played dogged prosecutor Vincent Bugliosi in the miniseries Helter Skelter (2004), which was a reenactment of the Charles Manson family horror, and appeared on the more popular shows of the day, such as Entourage (2004). He was married for the first time to actress Lynn Sellers in 2004 at age 55. His brother John is a well-known acting coach. An occasional TV director to boot, Bruno was diagnosed with leukemia shortly before his death on August 14, 2006, after having completed his part in the film Played (2006) starring Gabriel Byrne.

Bill Paxton was born on May 17, 1955 in Fort Worth, Texas. He was the son of Mary Lou (Gray) and John Lane Paxton, a businessman and actor (as John Paxton). Bill moved to Los Angeles, California at age eighteen, where he found work in the film industry as a set dresser for Roger Corman's New World Pictures. He made his film debut in the Corman film Crazy Mama (1975), directed by Jonathan Demme. Moving to New York, Paxton studied acting under Stella Adler at New York University. After landing a small role in Stripes (1981), he found steady work in low-budget films and television. He also directed, wrote and produced award-winning short films including Barnes & Barnes: Fish Heads (1980), which aired on Saturday Night Live (1975). His first appearance in a James Cameron film was a small role in The Terminator (1984), followed by his very memorable performance as Private Hudson in Aliens (1986) and as the nomadic vampire Severen in Kathryn Bigelow's Near Dark (1987). Bill also appeared in John Hughes' Weird Science (1985), as Wyatt Donnelly's sadistic older brother Chet. Although he continued to work steadily in film and television, his big break did not come until his lead role in the critically acclaimed film-noir One False Move (1991). This quickly led to strong supporting roles as Wyatt Earp's naive younger brother Morgan in Tombstone (1993) and as Fred Haise, one of the three astronauts, in Apollo 13 (1995), as well as in James Cameron's offering True Lies (1994).

Bill died on February 25, 2017, in Los Angeles, from complications following heart surgery. He was 61.

Marlon Brando is widely considered the greatest movie actor of all time, rivaled only by the more theatrically oriented Laurence Olivier in terms of esteem. Unlike Olivier, who preferred the stage to the screen, Brando concentrated his talents on movies after bidding the Broadway stage adieu in 1949, a decision for which he was severely criticized when his star began to dim in the 1960s and he was excoriated for squandering his talents. No actor ever exerted such a profound influence on succeeding generations of actors as did Brando. More than 50 years after he first scorched the screen as Stanley Kowalski in the movie version of Tennessee Williams' A Streetcar Named Desire (1951) and a quarter-century after his last great performance as Col. Kurtz in Francis Ford Coppola's Apocalypse Now (1979), all American actors are still being measured by the yardstick that was Brando. It was if the shadow of John Barrymore, the great American actor closest to Brando in terms of talent and stardom, dominated the acting field up until the 1970s. He did not, nor did any other actor so dominate the public's consciousness of what WAS an actor before or since Brando's 1951 on-screen portrayal of Stanley made him a cultural icon. Brando eclipsed the reputation of other great actors circa 1950, such as Paul Muni and Fredric March. Only the luster of Spencer Tracy's reputation hasn't dimmed when seen in the starlight thrown off by Brando. However, neither Tracy nor Olivier created an entire school of acting just by the force of his personality. Brando did.

Marlon Brando, Jr. was born on April 3, 1924, in Omaha, Nebraska, to Marlon Brando, Sr., a calcium carbonate salesman, and his artistically inclined wife, the former Dorothy Julia Pennebaker. "Bud" Brando was one of three children. His ancestry included English, Irish, German, Dutch, French Huguenot, Welsh, and Scottish; his surname originated with a distant German immigrant ancestor named "Brandau." His oldest sister Jocelyn Brando was also an actress, taking after their mother, who engaged in amateur theatricals and mentored a then-unknown Henry Fonda, another Nebraska native, in her role as director of the Omaha Community Playhouse. Frannie, Brando's other sibling, was a visual artist. Both Brando sisters contrived to leave the Midwest for New York City, Jocelyn to study acting and Frannie to study art. Marlon managed to escape the vocational doldrums forecast for him by his cold, distant father and his disapproving schoolteachers by striking out for The Big Apple in 1943, following Jocelyn into the acting profession. Acting was the only thing he was good at, for which he received praise, so he was determined to make it his career - a high-school dropout, he had nothing else to fall back on, having been rejected by the military due to a knee injury he incurred playing football at Shattuck Military Academy, Brando Sr.'s alma mater. The school booted Marlon out as incorrigible before graduation.

Acting was a skill he honed as a child, the lonely son of alcoholic parents. With his father away on the road, and his mother frequently intoxicated to the point of stupefaction, the young Bud would play-act for her to draw her out of her stupor and to attract her attention and love. His mother was exceedingly neglectful, but he loved her, particularly for instilling in him a love of nature, a feeling which informed his character Paul in Last Tango in Paris (1972) ("Last Tango in Paris") when he is recalling his childhood for his young lover Jeanne. "I don't have many good memories," Paul confesses, and neither did Brando of his childhood. Sometimes he had to go down to the town jail to pick up his mother after she had spent the night in the drunk tank and bring her home, events that traumatized the young boy but may have been the grain that irritated the oyster of his talent, producing the pearls of his performances. Anthony Quinn, his Oscar-winning co-star in Viva Zapata! (1952) told Brando's first wife Anna Kashfi, "I admire Marlon's talent, but I don't envy the pain that created it."

Brando enrolled in Erwin Piscator's Dramatic Workshop at New York's New School, and was mentored by Stella Adler, a member of a famous Yiddish Theatre acting family. Adler helped introduce to the New York stage the "emotional memory" technique of Russian theatrical actor, director and impresario Konstantin Stanislavski, whose motto was "Think of your own experiences and use them truthfully." The results of this meeting between an actor and the teacher preparing him for a life in the theater would mark a watershed in American acting and culture.

Brando made his debut on the boards of Broadway on October 19, 1944, in "I Remember Mama," a great success. As a young Broadway actor, Brando was invited by talent scouts from several different studios to screen-test for them, but he turned them down because he would not let himself be bound by the then-standard seven-year contract. Brando would make his film debut quite some time later in Fred Zinnemann's The Men (1950) for producer Stanley Kramer. Playing a paraplegic soldier, Brando brought new levels of realism to the screen, expanding on the verisimilitude brought to movies by Group Theatre alumni John Garfield, the predecessor closest to him in the raw power he projected on-screen. Ironically, it was Garfield whom producer Irene Mayer Selznick had chosen to play the lead in a new Tennessee Williams play she was about to produce, but negotiations broke down when Garfield demanded an ownership stake in "A Streetcar Named Desire." Burt Lancaster was next approached, but couldn't get out of a prior film commitment. Then director Elia Kazan suggested Brando, whom he had directed to great effect in Maxwell Anderson's play "Truckline Café," in which Brando co-starred with Karl Malden, who was to remain a close friend for the next 60 years.

During the production of "Truckline Café," Kazan had found that Brando's presence was so magnetic, he had to re-block the play to keep Marlon near other major characters' stage business, as the audience could not take its eyes off of him. For the scene where Brando's character re-enters the stage after killing his wife, Kazan placed him upstage-center, partially obscured by scenery, but where the audience could still see him as Karl Malden and others played out their scene within the café set. When he eventually entered the scene, crying, the effect was electric. A young Pauline Kael, arriving late to the play, had to avert her eyes when Brando made this entrance as she believed the young actor on stage was having a real-life conniption. She did not look back until her escort commented that the young man was a great actor.

The problem with casting Brando as Stanley was that he was much younger than the character as written by Williams. However, after a meeting between Brando and Williams, the playwright eagerly agreed that Brando would make an ideal Stanley. Williams believed that by casting a younger actor, the Neanderthalish Kowalski would evolve from being a vicious older man to someone whose unintentional cruelty can be attributed to his youthful ignorance. Brando ultimately was dissatisfied with his performance, though, saying he never was able to bring out the humor of the character, which was ironic as his characterization often drew laughs from the audience at the expense of Jessica Tandy's Blanche Dubois. During the out-of-town tryouts, Kazan realized that Brando's magnetism was attracting attention and audience sympathy away from Blanche to Stanley, which was not what the playwright intended. The audience's sympathy should be solely with Blanche, but many spectators were identifying with Stanley. Kazan queried Williams on the matter, broaching the idea of a slight rewrite to tip the scales back to more of a balance between Stanley and Blanche, but Williams demurred, smitten as he was by Brando, just like the preview audiences.

For his part, Brando believed that the audience sided with his Stanley because Jessica Tandy was too shrill. He thought Vivien Leigh, who played the part in the movie, was ideal, as she was not only a great beauty but she WAS Blanche Dubois, troubled as she was in her real life by mental illness and nymphomania. Brando's appearance as Stanley on stage and on screen revolutionized American acting by introducing "The Method" into American consciousness and culture. Method acting, rooted in Adler's study at the Moscow Art Theatre of Stanislavsky's theories that she subsequently introduced to the Group Theatre, was a more naturalistic style of performing, as it engendered a close identification of the actor with the character's emotions. Adler took first place among Brando's acting teachers, and socially she helped turn him from an unsophisticated Midwestern farm boy into a knowledgeable and cosmopolitan artist who one day would socialize with presidents.

Brando didn't like the term "The Method," which quickly became the prominent paradigm taught by such acting gurus as Lee Strasberg at the Actors Studio. Brando denounced Strasberg in his autobiography "Songs My Mother Taught Me" (1994), saying that he was a talentless exploiter who claimed he had been Brando's mentor. The Actors Studio had been founded by Strasberg along with Kazan and Stella Adler's husband, Harold Clurman, all Group Theatre alumni, all political progressives deeply committed to the didactic function of the stage. Brando credits his knowledge of the craft to Adler and Kazan, while Kazan in his autobiography "A Life" claimed that Brando's genius thrived due to the thorough training Adler had given him. Adler's method emphasized that authenticity in acting is achieved by drawing on inner reality to expose deep emotional experience

Interestingly, Elia Kazan believed that Brando had ruined two generations of actors, his contemporaries and those who came after him, all wanting to emulate the great Brando by employing The Method. Kazan felt that Brando was never a Method actor, that he had been highly trained by Adler and did not rely on gut instincts for his performances, as was commonly believed. Many a young actor, mistaken about the true roots of Brando's genius, thought that all it took was to find a character's motivation, empathize with the character through sense and memory association, and regurgitate it all on stage to become the character. That's not how the superbly trained Brando did it; he could, for example, play accents, whereas your average American Method actor could not. There was a method to Brando's art, Kazan felt, but it was not The Method.

After A Streetcar Named Desire (1951), for which he received the first of his eight Academy Award nominations, Brando appeared in a string of Academy Award-nominated performances - in Viva Zapata! (1952), Julius Caesar (1953) and the summit of his early career, Kazan's On the Waterfront (1954). For his "Waterfront" portrayal of meat-headed longshoreman Terry Malloy, the washed-up pug who "coulda been a contender," Brando won his first Oscar. Along with his iconic performance as the rebel-without-a-cause Johnny in The Wild One (1953) ("What are you rebelling against?" Johnny is asked. "What have ya got?" is his reply), the first wave of his career was, according to Jon Voight, unprecedented in its audacious presentation of such a wide range of great acting. Director John Huston said his performance of Marc Antony was like seeing the door of a furnace opened in a dark room, and co-star John Gielgud, the premier Shakespearean actor of the 20th century, invited Brando to join his repertory company.

It was this period of 1951-54 that revolutionized American acting, spawning such imitators as James Dean - who modeled his acting and even his lifestyle on his hero Brando - the young Paul Newman and Steve McQueen. After Brando, every up-and-coming star with true acting talent and a brooding, alienated quality would be hailed as the "New Brando," such as Warren Beatty in Kazan's Splendor in the Grass (1961). "We are all Brando's children," Jack Nicholson pointed out in 1972. "He gave us our freedom." He was truly "The Godfather" of American acting - and he was just 30 years old. Though he had a couple of failures, like Désirée (1954) and The Teahouse of the August Moon (1956), he was clearly miscast in them and hadn't sought out the parts so largely escaped blame.

In the second period of his career, 1955-62, Brando managed to uniquely establish himself as a great actor who also was a Top 10 movie star, although that star began to dim after the box-office high point of his early career, Sayonara (1957) (for which he received his fifth Best Actor Oscar nomination). Brando tried his hand at directing a film, the well-reviewed One-Eyed Jacks (1961) that he made for his own production company, Pennebaker Productions (after his mother's maiden name). Stanley Kubrick had been hired to direct the film, but after months of script rewrites in which Brando participated, Kubrick and Brando had a falling out and Kubrick was sacked. According to his widow Christiane Kubrick, Stanley believed that Brando had wanted to direct the film himself all along.

Tales proliferated about the profligacy of Brando the director, burning up a million and a half feet of expensive VistaVision film at 50 cents a foot, fully ten times the normal amount of raw stock expended during production of an equivalent motion picture. Brando took so long editing the film that he was never able to present the studio with a cut. Paramount took it away from him and tacked on a re-shot ending that Brando was dissatisfied with, as it made the Oedipal figure of Dad Longworth into a villain. In any normal film Dad would have been the heavy, but Brando believed that no one was innately evil, that it was a matter of an individual responding to, and being molded by, one's environment. It was not a black-and-white world, Brando felt, but a gray world in which once-decent people could do horrible things. This attitude explains his sympathetic portrayal of Nazi officer Christian Diestl in the film he made before shooting One-Eyed Jacks (1961), Edward Dmytryk's filming of Irwin Shaw's novel The Young Lions (1958). Shaw denounced Brando's performance, but audiences obviously disagreed, as the film was a major hit. It would be the last hit movie Brando would have for more than a decade.

One-Eyed Jacks (1961) generated respectable numbers at the box office, but the production costs were exorbitant - a then-staggering $6 million - which made it run a deficit. A film essentially is "made" in the editing room, and Brando found cutting to be a terribly boring process, which was why the studio eventually took the film away from him. Despite his proved talent in handling actors and a large production, Brando never again directed another film, though he would claim that all actors essentially direct themselves during the shooting of a picture.

Between the production and release of One-Eyed Jacks (1961), Brando appeared in Sidney Lumet's film version of Tennessee Williams' play "Orpheus Descending," The Fugitive Kind (1960) which teamed him with fellow Oscar winners Anna Magnani and Joanne Woodward. Following in Elizabeth Taylor's trailblazing footsteps, Brando became the second performer to receive a $1-million salary for a motion picture, so high were the expectations for this re-teaming of Kowalski and his creator (in 1961 critic Hollis Alpert had published a book "Brando and the Shadow of Stanley Kowalski"). Critics and audiences waiting for another incendiary display from Brando in a Williams work were disappointed when the renamed The Fugitive Kind (1960) finally released. Though Tennessee was hot, with movie versions of Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959) burning up the box office and receiving kudos from the Academy of Motion Picture Arts & Sciences, The Fugitive Kind (1960) was a failure. This was followed by the so-so box-office reception of One-Eyed Jacks (1961) in 1961 and then by a failure of a more monumental kind: Mutiny on the Bounty (1962), a remake of the famed 1935 film.

Brando signed on to Mutiny on the Bounty (1962) after turning down the lead in the David Lean classic Lawrence of Arabia (1962) because he didn't want to spend a year in the desert riding around on a camel. He received another $1-million salary, plus $200,000 in overages as the shoot went overtime and over budget. During principal photography, highly respected director Carol Reed (an eventual Academy Award winner) was fired, and his replacement, two-time Oscar winner Lewis Milestone, was shunted aside by Brando as Marlon basically took over the direction of the film himself. The long shoot became so notorious that President John F. Kennedy asked director Billy Wilder at a cocktail party not "when" but "if" the "Bounty" shoot would ever be over. The MGM remake of one of its classic Golden Age films garnered a Best Picture Oscar nomination and was one of the top grossing films of 1962, yet failed to go into the black due to its Brobdingnagian budget estimated at $20 million, which is equivalent to $120 million when adjusted for inflation.

Brando and Taylor, whose Cleopatra (1963) nearly bankrupted 20th Century-Fox due to its huge cost overruns (its final budget was more than twice that of Brando's Mutiny on the Bounty (1962)), were pilloried by the show business press for being the epitome of the pampered, self-indulgent stars who were ruining the industry. Seeking scapegoats, the Hollywood press conveniently ignored the financial pressures on the studios. The studios had been hurt by television and by the antitrust-mandated divestiture of their movie theater chains, causing a large outflow of production to Italy and other countries in the 1950s and 1960s in order to lower costs. The studio bosses, seeking to replicate such blockbuster hits as the remakes of The Ten Commandments (1956) and Ben-Hur (1959), were the real culprits behind the losses generated by large-budgeted films that found it impossible to recoup their costs despite long lines at the box office.

While Elizabeth Taylor, receiving the unwanted gift of reams of publicity from her adulterous romance with Cleopatra (1963) co-star Richard Burton, remained hot until the tanking of her own Tennessee Williams-renamed debacle Boom! (1968), Brando from 1963 until the end of the decade appeared in one box-office failure after another as he worked out a contract he had signed with Universal Pictures. The industry had grown tired of Brando and his idiosyncrasies, though he continued to be offered prestige projects up through 1968.

Some of the films Brando made in the 1960s were noble failures, such as The Ugly American (1963), The Appaloosa (1966) and Reflections in a Golden Eye (1967). For every "Reflections," though, there seemed to be two or three outright debacles, such as Bedtime Story (1964), Morituri (1965), The Chase (1966), A Countess from Hong Kong (1967), Candy (1968), The Night of the Following Day (1969). By the time Brando began making the anti-colonialist picture Burn! (1969) in Colombia with Gillo Pontecorvo in the director's chair, he was box-office poison, despite having worked in the previous five years with such top directors as Arthur Penn, John Huston and the legendary Charles Chaplin, and with such top-drawer co-stars as David Niven, Yul Brynner, Sophia Loren and Taylor.

The rap on Brando in the 1960s was that a great talent had ruined his potential to be America's answer to Laurence Olivier, as his friend William Redfield limned the dilemma in his book "Letters from an Actor" (1967), a memoir about Redfield's appearance in Burton's 1964 theatrical production of "Hamlet." By failing to go back on stage and recharge his artistic batteries, something British actors such as Burton were not afraid to do, Brando had stifled his great talent, by refusing to tackle the classical repertoire and contemporary drama. Actors and critics had yearned for an American response to the high-acting style of the Brits, and while Method actors such as Rod Steiger tried to create an American style, they were hampered in their quest, as their king was lost in a wasteland of Hollywood movies that were beneath his talent. Many of his early supporters now turned on him, claiming he was a crass sellout.

Despite evidence in such films as The Appaloosa (1966) and Reflections in a Golden Eye (1967) that Brando was in fact doing some of the best acting of his life, critics, perhaps with an eye on the box office, slammed him for failing to live up to, and nurture, his great gift. Brando's political activism, starting in the early 1960s with his championing of Native Americans' rights, followed by his participation in the Southern Christian Leadership Conference's March on Washington in 1963, and followed by his appearance at a Black Panther rally in 1968, did not win him many admirers in the establishment. In fact, there was a de facto embargo on Brando films in the recently segregated (officially, at least) southeastern US in the 1960s. Southern exhibitors simply would not book his films, and producers took notice. After 1968, Brando would not work for three years.

Pauline Kael wrote of Brando that he was Fortune's fool. She drew a parallel with the latter career of John Barrymore, a similarly gifted thespian with talents as prodigious, who seemingly threw them away. Brando, like the late-career Barrymore, had become a great ham, evidenced by his turn as the faux Indian guru in the egregious Candy (1968), seemingly because the material was so beneath his talent. Most observers of Brando in the 1960s believed that he needed to be reunited with his old mentor Elia Kazan, a relationship that had soured due to Kazan's friendly testimony naming names before the notorious House un-American Activities Committee. Perhaps Brando believed this, too, as he originally accepted an offer to appear as the star of Kazan's film adaptation of his own novel, The Arrangement (1969). However, after the assassination of Martin Luther King, Brando backed out of the film, telling Kazan that he could not appear in a Hollywood film after this tragedy. Also reportedly turning down a role opposite box-office king Paul Newman in a surefire script, Butch Cassidy and the Sundance Kid (1969), Brando decided to make Burn! (1969) with Pontecorvo. The film, a searing indictment of racism and colonialism, flopped at the box office but won the esteem of progressive critics and cultural arbiters such as Howard Zinn. He subsequently appeared in the British film The Nightcomers (1971), a prequel to "Turn of the Screw" and another critical and box office failure.

Kazan, after a life in film and the theater, said that, aside from Orson Welles, whose greatness lay in film making, he only met one actor who was a genius: Brando. Richard Burton, an intellectual with a keen eye for observation if not for his own film projects, said that he found Brando to be very bright, unlike the public perception of him as a Terry Malloy-type character that he himself inadvertently promoted through his boorish behavior. Brando's problem, Burton felt, was that he was unique, and that he had gotten too much fame too soon at too early an age. Cut off from being nurtured by normal contact with society, fame had distorted Brando's personality and his ability to cope with the world, as he had not had time to grow up outside the limelight.

Truman Capote, who eviscerated Brando in print in the mid-'50s and had as much to do with the public perception of the dyslexic Brando as a dumbbell, always said that the best actors were ignorant, and that an intelligent person could not be a good actor. However, Brando was highly intelligent, and possessed of a rare genius in a then-deprecated art, acting. The problem that an intelligent performer has in movies is that it is the director, and not the actor, who has the power in his chosen field. Greatness in the other arts is defined by how much control the artist is able to exert over his chosen medium, but in movie acting, the medium is controlled by a person outside the individual artist. It is an axiom of the cinema that a performance, as is a film, is "created" in the cutting room, thus further removing the actor from control over his art. Brando had tried his hand at directing, in controlling the whole artistic enterprise, but he could not abide the cutting room, where a film and the film's performances are made. This lack of control over his art was the root of Brando's discontent with acting, with movies, and, eventually, with the whole wide world that invested so much cachet in movie actors, as long as "they" were at the top of the box-office charts. Hollywood was a matter of "they" and not the work, and Brando became disgusted.

Charlton Heston, who participated in Martin Luther King's 1963 March on Washington with Brando, believes that Marlon was the great actor of his generation. However, noting a story that Brando had once refused a role in the early 1960s with the excuse "How can I act when people are starving in India?," Heston believes that it was this attitude, the inability to separate one's idealism from one's work, that prevented Brando from reaching his potential. As Rod Steiger once said, Brando had it all, great stardom and a great talent. He could have taken his audience on a trip to the stars, but he simply would not. Steiger, one of Brando's children even though a contemporary, could not understand it. When James Mason' was asked in 1971 who was the best American actor, he had replied that since Brando had let his career go belly-up, it had to be George C. Scott, by default.

Paramount thought that only Laurence Olivier would suffice, but Lord Olivier was ill. The young director believed there was only one actor who could play godfather to the group of Young Turk actors he had assembled for his film, The Godfather of method acting himself - Marlon Brando. Francis Ford Coppola won the fight for Brando, Brando won - and refused - his second Oscar, and Paramount won a pot of gold by producing the then top-grossing film of all-time, The Godfather (1972), a gangster movie most critics now judge one of the greatest American films of all time. Brando followed his iconic portrayal of Don Corleone with his Oscar-nominated turn in the high-grossing and highly scandalous Last Tango in Paris (1972) ("Last Tango in Paris"), the first film dealing explicitly with sexuality in which an actor of Brando's stature had participated. He was now again a top ten box office star and once again heralded as the greatest actor of his generation, an unprecedented comeback that put him on the cover of "Time" magazine and would make him the highest-paid actor in the history of motion pictures by the end of the decade. Little did the world know that Brando, who had struggled through many projects in good faith during the 1960s, delivering some of his best acting, only to be excoriated and ignored as the films did not do well at the box office, essentially was through with the movies.

After reaching the summit of his career, a rarefied atmosphere never reached before or since by any actor, Brando essentially walked away. He would give no more of himself after giving everything as he had done in Last Tango in Paris (1972)," a performance that embarrassed him, according to his autobiography. Brando had come as close to any actor to being the "auteur," or author, of a film, as the English-language scenes of "Tango" were created by encouraging Brando to improvise. The improvisations were written down and turned into a shooting script, and the scripted improvisations were shot the next day. Pauline Kael, the Brando of movie critics in that she was the most influential arbiter of cinematic quality of her generation and spawned a whole legion of Kael wannabes, said Brando's performance in Last Tango in Paris (1972) had revolutionized the art of film. Brando, who had to act to gain his mother's attention; Brando, who believed acting at best was nothing special as everyone in the world engaged in it every day of their lives to get what they wanted from other people; Brando, who believed acting at its worst was a childish charade and that movie stardom was a whorish fraud, would have agreed with Sam Peckinpah's summation of Pauline Kael: "Pauline's a brilliant critic but sometimes she's just cracking walnuts with her ass." He probably would have done so in a simulacrum of those words, too.

After another three-year hiatus, Brando took on just one more major role for the next 20 years, as the bounty hunter after Jack Nicholson in Arthur Penn's The Missouri Breaks (1976), a western that succeeded neither with the critics or at the box office. Following The Godfather and Tango, Brando's performance was disappointing for some reviewers, who accused him of giving an erratic and inconsistent performance. In 1977, Brando made a rare appearance on television in the miniseries Roots: The Next Generations (1979), portraying George Lincoln Rockwell; he won a Primetime Emmy Award for Outstanding Supporting Actor in a Miniseries or a Movie for his performance. In 1978, he narrated the English version of Raoni (1978), a French-Belgian documentary film directed by Jean-Pierre Dutilleux and Luiz Carlos Saldanha that focused on the life of Raoni Metuktire and issues surrounding the survival of the indigenous Indian tribes of north central Brazil.

Later in his career, Brando concentrated on extracting the maximum amount of capital for the least amount of work from producers, as when he got the Salkind brothers to pony up a then-record $3.7 million against 10% of the gross for 13 days work on Superman (1978). Factoring in inflation, the straight salary for "Superman" equals or exceeds the new record of $1 million a day Harrison Ford set with K-19: The Widowmaker (2002). He agreed to the role only on assurance that he would be paid a large sum for what amounted to a small part, that he would not have to read the script beforehand, and his lines would be displayed somewhere off-camera. Brando also filmed scenes for the movie's sequel, Superman II, but after producers refused to pay him the same percentage he received for the first movie, he denied them permission to use the footage.

Before cashing his first paycheck for Superman (1978), Brando had picked up $2 million for his extended cameo in Francis Ford Coppola's Apocalypse Now (1979) in a role, that of Col. Kurtz, that he authored on-camera through improvisation while Coppola shot take after take. It was Brando's last bravura star performance. He co-starred with George C. Scott and John Gielgud in The Formula (1980), but the film was another critical and financial failure. Years later though, he did receive an eighth and final Oscar nomination for his supporting role in A Dry White Season (1989) after coming out of a near-decade-long retirement. Contrary to those who claimed he now only was in it for the money, Brando donated his entire seven-figure salary to an anti-apartheid charity. He then did an amusing performance in the comedy The Freshman (1990), winning rave reviews. He portrayed Tomas de Torquemada in the historical drama 1492: Conquest of Paradise (1992), but his performance was denounced and the film was another box office failure. He made another comeback in the Johnny Depp romantic drama Don Juan DeMarco (1994), which co-starred Faye Dunaway as his wife. He then appeared in The Island of Dr. Moreau (1996), co-starring Val Kilmer, who he didn't get along with. The filming was an unpleasant experience for Brando, as well as another critical and box office failure.

Brando had first attracted media attention at the age of 24, when "Life" magazine ran a photo of himself and his sister Jocelyn, who were both then appearing on Broadway. The curiosity continued, and snowballed. Playing the paraplegic soldier of The Men (1950), Brando had gone to live at a Veterans Administration hospital with actual disabled veterans, and confined himself to a wheelchair for weeks. It was an acting method, research, that no one in Hollywood had ever heard of before, and that willingness to experience life.

Incisive, intense, multi-talented American actor Lance Solomon Reddick was born in Baltimore, Maryland, the younger of two sons, to Solomon Reddick and public schoolteacher Dorothy Gee. Having opted initially for a career in music, he attended first the Peabody Preparatory Institute and the Walden School before studying classical composition at the University of Rochester's Eastman School of Music, qualifying with a Bachelor's Degree. By the early '90s, however, Reddick was forced to re-evaluate his career plans because of a severe back injury suffered while pulling a double shift waiting on tables and delivering newspapers. A pressing need to make ends meet made him enroll at the Yale School of Drama, from where he went on to graduate in 1994 with a Master of Fine Arts Degree. He derived much inspiration from his classmate Paul Giamatti and came to regard Daniel Day-Lewis as his quintessential acting role model.

Possessed of an athletic build and a deep, resonant voice, Reddick also had a self-declared affinity for accents. Preparing himself for his roles, he immersed himself fully into his characters as a "transformational performer", often rehearsing his lines in front of a mirror. He made his television debut in an episode of New York Undercover (1994). Though he played a couple of drug addicts early on, he soon found himself much in demand-- and ultimately typecast -- as powerful authority figures, from police detectives (Johnny Basil in Oz (1997)) to FBI agents (Law & Order (1990)) to senior police officer (Cedric Daniels in The Wire (2002)). One of his best known roles on the big screen was as the mysterious Mr. Charon, concierge at the Continental Hotel, scene of much of the action in the John Wick (2014) franchise.

Arguably, his most memorable character was that of Phillip Broyles, special agent-in-charge with the Department of Homeland Security, heading a team of experts investigating paranormal events in the outstanding science fiction drama series Fringe (2008). Broyles was a no-nonsense tough guy, who, nevertheless, remained steadfastly loyal in defense of his team against insidious forces from within and without. Unlike Broyles, Reddick's other important recurring TV character, Chief Irving in Bosch (2014), was a morally ambiguous man motivated chiefly by political ambition. Both were flawless performances.

Prior to his sad and untimely passing in March 2023 at the age of 60, Reddick was much sought-after as a voice actor for animations and video games. He also never lost his lifelong passion for music, and, in 2007, released an album of his compositions entitled "Contemplations & Remembrances". In private life, the twice-married Reddick was said to have been very much devoted to his three dogs.

Brittany Murphy was born Brittany Anne Bertolotti on November 10, 1977 in Atlanta, Georgia, to Sharon Kathleen Murphy and Angelo Joseph Bertolotti. Her father's ancestry is Italian, and her mother is of Irish and Slovak descent. Her father moved the family back to Edison, New Jersey as a native New Yorker and to be closer to other siblings from previous marriages. While dining out one night in the presence of Hollywood royalty, Brittany at the age of 5 approached an adjoining table when Academy Award nominee Burt Reynolds and George Segal were seated. Brittany introduced herself to the Hollywood legends and confidently told them that someday she too would be a star.

She comes from a long line of international musicians and performers with three half-brothers and a sister. Angelo Bertolotti was torn from their tight-knit family as a made-man with the Italian Mafia. The Senior Bertolotti, who coined the nickname of "Britt" for his daughter, was also an entrepreneur and diplomat for organized crime families and one of the first to be subjected to a RICO prosecution. Brittany's interests and well-being were always her father's first goal and objective. To distance his talented daughter from his infamous past, Angelo allowed Sharon to use her maiden name for Brittany's, so that her shining star would not be overshadowed by a father's past, with the couple divorcing thereafter.

Brittany began receiving accolades and applause in regional theater at the early age of 9. At the age of 13, she landed several national commercials. She appeared on television and caught the attention of a personal manager and an agent. Soon, Brittany's mother Sharon turned full-time to being a "Stage Mom" where Angelo provided financial support throughout and their relationship is memorialized with a long and close history in pictures. The hopeful daughter and mother moved to Burbank, CA, where Brittany landed her first television role on Blossom (1990). Hearts and doors opened up for a starring role on Drexell's Class (1991), a short lived TV series.

Brittany's big screen movie debut started with Clueless (1995), where she was co-starring with Alicia Silverstone. Britt soared, demonstrating her musical and artistic talents with dramatic and comedic roles landing a nomination for best leading female performance in the Young Artist Awards for her role in the television film David and Lisa (1998). She garnered tremendous attention for her role in Girl, Interrupted (1999) with Academy Award winner Angelina Jolie. Brittany's band, "Blessed Soul" was growing with her as lead singer and Britt lent her vocal talents to the TV hit, cartoon sensation, King of the Hill (1997) as the voice of Luanne.

She is alleged to have been a witness in the case of the former Department of Homeland Security employee and persecuted whistleblower Julia Davis. According to Davis, Brittany and her fiancée Simon Monjack were then targeted for retaliation that included land and aerial surveillance and a threatened prosecution. Monjack was arrested and detained by the Bureau of Immigration and Customs Enforcement (ICE). Brittany and Simon confided in Alex Ben Block of the Hollywood Reporter, telling him in an interview that they were under surveillance by helicopters and their telephones have been wiretapped. This information was published by THR posthumously, in an article entitled "The Last Difficult Days of Brittany Murphy."

On December 20, 2009, Brittany Murphy died an untimely death. The LAPD and Los Angeles County Coroner closed the case within one hour, attributing her death to pneumonia and anemia. Five months after Brittany's unexpected demise, her husband Simon Monjack was found dead in the house he shared with Brittany. The chief/spokesperson at the Los Angeles County Dept of Coroner, Craig Harvey, stated that Simon also died from the same exact causes as his wife, namely pneumonia and anemia. Neither Brittany, nor Simon, were given a thorough and complete forensic autopsy for poisons. Brittany's father, Angelo "AJ" Bertolotti, is pursuing the investigation of the true reasons behind Brittany's and Simon's sudden demise, as he believes that the two were murdered. Abnormally high levels of heavy metals and poisons were discovered in Brittany's hair, tested by two other independent forensic labs with famed Pathologist, attorney Cyril Wecht concluded from the appearances, Brittany could have been murdered and should be exhumed. Her father Angelo is preparing court actions to ensure she obtains justice.

Patrick Wayne Swayze was born on August 18, 1952 in Houston, Texas, to Patsy Swayze (née Yvonne Helen Karnes), a choreographer, and Jesse Wayne Swayze, a chemical plant engineer draftsman. His mother owned a dance school in Houston, where Patrick was also a student. His father passed away in 1982. He graduated from Waltrip High School in Houston, and attended San Jacinto College in Pasadena, Texas. He married actress/dancer Lisa Niemi on June 12, 1975, whom he had known when she was 15 and a student at his mother's dance school. His New York City dance training included the Harkness Ballet School and Joffrey Ballet School. He first danced professionally as "Prince Charming" in "Disney on Parade". After a stint as "Danny Zuko" in the original Broadway production of "Grease", he made his film debut with a small role in Skatetown U.S.A. (1979). He made his television debut in 1981 on M*A*S*H (1972), as a soldier diagnosed with leukemia.

After many supporting roles in films and a lead role in the TV mini-series North & South: Book 1, North & South (1985), he landed his breakthrough role as dance instructor "Johnny Castle" in the hit film Dirty Dancing (1987), for which he received a Golden Globe nomination. He received a second nomination for his portrayal of "Sam Wheat" in the blockbuster Ghost (1990). Ghost (1990) was the highest-grossing film of 1990, and at one point, the fourth highest-grossing film of all time. Unfortunately, he did not capitalize on its success. His subsequent films like City of Joy (1992), Tall Tale (1995), Black Dog (1998), and Waking Up in Reno (2002) did not fare well with critics or audiences. In December 2003, he returned to Broadway as a replacement for the lead role of "Billy Flynn" in the acclaimed revival of John Kander & Fred Ebb's musical, "Chicago". The production also went on tour in several cities of the United States, including Los Angeles. In January 2008, he was diagnosed with pancreatic cancer. He fought the illness for well over a year and was able to continue working, but died on September 14, 2009.

Originally from Portland, Maine to a musically inclined family (her mother was once an opera singer) and on stage from the age of 5, singer/actress Linda Lavin graduated from The College of William and Mary with a theater degree.

Linda pounded the New York pavements in the early 1960s searching for work following some stock roles in New Jersey, and gradually made a dent within the New York musical comedy scene with roles in "Oh, Kay!" (1960), "A Family Affair," (1962), "It's a Bird...It's a Plane...It's Superman" (1966) (her standout number was "You've Got Possibilities") and "On a Clear Day, You Can See Forever" (1966). She also won kudos for her straight acting roles in "Little Murders" (1969 Drama Desk award) and "Last of the Red Hot Lovers" (1969 Tony nomination). A one-time member of Paul Sills' Compass Players comedy troupe back in the late 1950s, she served as a replacement in Sills' "Story Theater" Broadway production in 1971.

Television beckoned in the 1970s and utilized her singing talents in a small-screen version of Damn Yankees! (1967) starring Phil Silvers and Lee Remick. After a one-season false start as Det. Janice Wentworth on the sitcom Barney Miller (1975), it did not take long for the talented lady to become a household name in another. As the titular waitress/mother in the sitcom Alice (1976), based on the award-winning Alice Doesn't Live Here Anymore (1974) starring Oscar-winner Ellen Burstyn, Lavin won deserved stardom. During the nine seasons (1976-1985) the show was on the air, she nabbed two Golden Globe awards and an Emmy nomination. Ever the singer, she even warbled "There's a New Girl in Town" over the opening credits of the show to the delight of her fans.

Following this success, Linda lavished her attentions once again on the stage. She earned renewed respect, in addition to several critic's awards, for her diversified Broadway work in "Broadway Bound" (1987 Tony award), "Death Defying Acts" (1995 Obie award), "The Diary of Anne Frank" (1998 Tony nomination: as the high-strung Mrs. Van Daan) and "Tales of the Allergist Wife" (2000 Tony nomination). She later appeared in a PBS-TV version of Collected Stories (2002) and in 2010 revived it on Broadway, earning a Tony nomination for her efforts. She has also occasionally directed for the stage.

Linda was married and divorced twice to actors -- Ron Leibman and Kip Niven -- and in 2005 married her third husband, actor Steve Bakunas, who is also an artist and musician. After her "Alice" heyday, the actress would again return to series work, albeit the short-lived Room for Two (1992) and Conrad Bloom (1998).

Millennium credits include penetrating/amusing TV work on "The Sopranos," "Law & Order: Criminal Intent," "The O.C.," "Madame Secretary," "Santa Clarita Diet" and "Room 104," plus regular roles on three comedy series -- Sean Saves the World (2013), 9JKL (2017) and Yvette Slosch, Agent (2020) (title role). As for stage work, Linda returned to Broadway where she received fine reviews for her starring role in Carol Burnett's autobiographical play "Hollywood Arms" (2002) portraying Burnett's grandmother. The piece was co-written by Burnett's late daughter, Carrie Hamilton. Linda also received excellent reviews in "Collected Stories" (2010). Subsequent Broadway shows included brief runs of "The Lyons" (2012) and "My Mother's Brief Affair."

Alfred Joseph Hitchcock was born in Leytonstone, Essex, England. He was the son of Emma Jane (Whelan; 1863 - 1942) and East End greengrocer William Hitchcock (1862 - 1914). His parents were both of half English and half Irish ancestry. He had two older siblings, William Hitchcock (born 1890) and Eileen Hitchcock (born 1892). Raised as a strict Catholic and attending Saint Ignatius College, a school run by Jesuits, Hitch had very much of a regular upbringing. His first job outside of the family business was in 1915 as an estimator for the Henley Telegraph and Cable Company. His interest in movies began at around this time, frequently visiting the cinema and reading US trade journals.

Hitchcock entering the film industry in 1919 as a title card designer. It was there that he met Alma Reville, though they never really spoke to each other. It was only after the director for Always Tell Your Wife (1923) fell ill and Hitchcock was named director to complete the film that he and Reville began to collaborate. Hitchcock had his first real crack at directing a film, start to finish, in 1923 when he was hired to direct the film Number 13 (1922), though the production wasn't completed due to the studio's closure (he later remade it as a sound film). Hitchcock didn't give up then. He directed The Pleasure Garden (1925), a British/German production, which was very popular. Hitchcock made his first trademark film in 1927, The Lodger: A Story of the London Fog (1927) . In the same year, on the 2nd of December, Hitchcock married Alma Reville. They had one child, Patricia Hitchcock who was born on July 7th, 1928. His success followed when he made a number of films in Britain such as The Lady Vanishes (1938) and Jamaica Inn (1939), some of which also gained him fame in the USA.

In 1940, the Hitchcock family moved to Hollywood, where the producer David O. Selznick had hired him to direct an adaptation of 'Daphne du Maurier''s Rebecca (1940). After Saboteur (1942), as his fame as a director grew, film companies began to refer to his films as 'Alfred Hitchcock's', for example Alfred Hitcock's Psycho (1960), Alfred Hitchcock's Family Plot (1976), Alfred Hitchcock's Frenzy (1972).

Hitchcock was a master of pure cinema who almost never failed to reconcile aesthetics with the demands of the box-office.

During the making of Frenzy (1972), Hitchcock's wife Alma suffered a paralyzing stroke which made her unable to walk very well. On March 7, 1979, Hitchcock was awarded the AFI Life Achievement Award, where he said: "I beg permission to mention by name only four people who have given me the most affection, appreciation, and encouragement, and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter Pat, and the fourth is as fine a cook as ever performed miracles in a domestic kitchen and their names are Alma Reville." By this time, he was ill with angina and his kidneys had already started to fail. He had started to write a screenplay with Ernest Lehman called The Short Night but he fired Lehman and hired young writer David Freeman to rewrite the script. Due to Hitchcock's failing health the film was never made, but Freeman published the script after Hitchcock's death. In late 1979, Hitchcock was knighted, making him Sir Alfred Hitchcock. On the 29th April 1980, 9:17AM, he died peacefully in his sleep due to renal failure. His funeral was held in the Church of Good Shepherd in Beverly Hills. Father Thomas Sullivan led the service with over 600 people attended the service, among them were Mel Brooks (director of High Anxiety (1977), a comedy tribute to Hitchcock and his films), Louis Jourdan, Karl Malden, Tippi Hedren, Janet Leigh and François Truffaut.

Legendary actor Glenn Ford was born Gwyllyn Samuel Newton Ford in Sainte-Christine-d'Auvergne, Quebec, Canada, to Hannah Wood (Mitchell) and Newton Ford, a railroad executive. His family moved to Santa Monica, California when he was eight years old. His acting career began with plays at high school, followed by acting in West Coast, a traveling theater company.

Ford was discovered in 1939 by Tom Moore, a talent scout for 20th Century Fox. He subsequently signed a contract with Columbia Pictures the same year. Ford's contract with Columbia marked a significant departure in that studio's successful business model. Columbia's boss, Harry Cohn, had spent decades observing other studios'-most notably Warner Brothers-troubles with their contract stars and had built his poverty-row studio around their loan-outs. Basically, major studios would use Columbia as a penalty box for unruly behavior-usually salary demands or work refusals. The cunning Cohn usually assigned these stars (his little studio could not normally afford then) into pictures, and the studio's status rose immensely as the 1930s progressed. Understandably, Cohn had long resisted developing his own stable of contract stars (he'd first hired Peter Lorre in 1934 but didn't know what to do with him) but had relented in the late 1930s, first adding Rosalind Russell, then signing Ford and fellow newcomer William Holden. Cohn reasoned that the two prospects could be used interchangeably, should one become troublesome. Although often competing for the same parts, Ford and Holden became good friends. Their careers would roughly parallel each other through the 1940s, until Holden became a superstar through his remarkable association with director Billy Wilder in the 1950s.

Ford made his official debut in Fox's Heaven with a Barbed Wire Fence (1939), and continued working in various small roles throughout the 1940s until his movie career was interrupted to join the Marines in World War II. Ford continued his military career in the Naval Reserve well into the Vietnam War, achieving the rank of captain. In 1943 Ford married legendary tap dancer Eleanor Powell, and had one son, Peter Ford. Like many actors returning to Hollywood after the war (including James Stewart and Holden (who had already acquired a serious alcohol problem), he found it initially difficult to regain his career momentum. He was able to resume his movie career with the help of Bette Davis, who gave him his first postwar break in the 1946 movie A Stolen Life (1946). However, it was not until his acclaimed performance in a 1946 classic film noir, Gilda (1946), with Rita Hayworth, that he became a major star and one of the the most popular actors of his time. He scored big with the film noir classics The Big Heat (1953) and Blackboard Jungle (1955), and was usually been cast as a calm and collected everyday-hero, showing courage under pressure. Ford continued to make many notable films during his prestigious 50-year movie career, but he is best known for his fine westerns such as 3:10 to Yuma (1957) and The Rounders (1965). Ford pulled a hugely entertaining turn in The Sheepman (1958) and many more fine films. In the 1970s, Ford made his television debut in the controversial The Brotherhood of the Bell (1970) and appeared in two fondly remembered television series: Cade's County (1971) and The Family Holvak (1975). During the 1980s and 1990s, Ford limited his appearance to documentaries and occasional films, including a nice cameo in Superman (1978).

Glenn Ford is remembered fondly by his fans for his more than 100 excellent films and his charismatic silver screen presence.

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

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

She was born Adelaide Delgado on August 28, 1923 (some references list 1925) to Spanish-speaking parents. The future Adela Mara began dances lesson at age 6 and was discovered as a young teenager by the legendary Xavier Cugat. Singing and dancing with his in the Detroit area, Cugat took the beautiful, brown-eyed brunette to New York where she performed in his shows at such esteemed clubs as the Copacabana.

While touring as a singer/dancer, she was spotted in Florida by a Columbia talent scout and signed to a Hollywood contract in 1942 at age 19. Starting off in bit exotic roles in such films as Honolulu Lu (1941), she quickly grew to alluring co-starring status opposite top banana Glynis Ahearn in Shut My Big Mouth (1942). There continued playing brisk leading ladies in a series of standard, uneventful "B" films including Vengeance of the West (1942) with Tex Ritter and Alias Boston Blackie (1942) starring Chester Morris.

A couple of years later she was transformed into a sexy platinum blonde pin-up after signing with Republic Studios and kept herself quite busy predominantly cast as senorita-types opposite cowboy stars Roy Rogers in Bells of Rosarita (1945) and Gene Autry in Twilight on the Rio Grande (1947). She was also fetching fodder in crime dramas including Blackmail (1947) and Web of Danger (1947) and a pleasant diversion in adventure pictures such as Wake of the Red Witch (1948) with John Wayne and The Avengers (1950).

Arguably Adele's best parts would come with Angel in Exile (1948) and Sands of Iwo Jima (1949), the latter again starring Duke Wayne. Seldom was she given the chance to capitalize on her acting talents, however, and her film career waned in the mid 1950s. Her last screen appearance would be in The Big Circus (1959) with Victor Mature. Adele subsequently moved into TV and was featured in a number of guest spots, primarily in westerns. She eventually abandoned her career and settled down to raise her three sons from her 1952 marriage to TV mogul Roy Huggins who produced many hit shows including 77 Sunset Strip (1958) and Maverick (1957). On a rare occasion, she would appear as a guest in one of his efforts, including an episode of the TV series Cool Million (1972).

Huggins died in 2002 and Adele passed away eight years later of natural causes in Los Angeles on May 7, 2010. The 87-year-old actress was interred at San Fernando Mission Cemetery.

Carrie Frances Fisher was born on October 21, 1956 in Burbank, California, to singers/actors Eddie Fisher and Debbie Reynolds. She was an actress and writer known for Star Wars: Episode IV - A New Hope (1977), Star Wars: Episode V - The Empire Strikes Back (1980) and Star Wars: Episode VI - Return of the Jedi (1983). Fisher is also known for her book, "Postcards from the Edge", and she wrote the screenplay for the movie based on her novel. Carrie Fisher and talent agent Bryan Lourd have a daughter, Billie Lourd (Billie Catherine Lourd), born on July 17, 1992.

For such a diminutive (4' 11") frame, character actor Leslie (Allen) Jordan had a tall talent for scene-stealing. Hailing from the South, as his dead-giveaway drawl quickly exposed, he was born in Memphis, Tennessee, on April 29, 1955, and raised in a highly conservative, deeply religious atmosphere in Chattanooga, Tennessee. His father, a Lieutenant Colonel with the Army, was killed in a plane crash when he was only 11.

Uncertain about his direction in life, an inescapable propensity for comedy and high camp, not to mention an impish mug and pocket-sized structure, led him straight to Los Angeles in an attempt to break into commercials and on-camera work. Following training with acting coach Carolyne Barry, who ran the Professional Artist's Group during the 80s, Leslie soon found himself highly marketable in commercial spots (Doritos, Fosters Beer, etc.). TV would invariably be the next step, finding him progressively better parts on such programs as "The Fall Guy," "The Wizard," "Night Court," "Newhart" and "Midnight Caller." He then earned a regular role on the short-lived comedy-fantasy series The People Next Door (1989) starring Alan Parker. Inspired by "The Far Side" comic strip, the show starred Jeffrey Jones as a cartoonist who could materialize his wild imagination.

Leslie began in films in the late 1980s with a bit part in the Richard Pryor comedy Moving (1988) and followed it with the role of Iggy, a hunch-backed Igor counterpart, in the whacked horror spoof Frankenstein General Hospital (1988) starring comic actor Mark Blankfield as the mad doctor. In primarily low-budget film projects at the onset, Leslie was part of such off-the-wall material as Ski Patrol (1990), Missing Pieces (1991), Hero (1992), Jason Goes to Hell: The Final Friday (1993), Barcelona (1994), Eat Your Heart Out (1997) and Black Velvet Pantsuit (1995), to name a few.

Into the 1990s, Leslie involved himself more and more into writing. Avid L.A. theatergoers would recognize him for such prone-to-misfit characters as Brother Boy, an institutionalized drag queen, in "Sordid Lives," and Peanut, a habitual barfly, in "Southern Baptist Sissies." His own one-man testimonials, such as the off-Broadway "Hysterical Blindness" and "Like a Dog on Linoleum," display his adeptness at baring his soul and exposing his childhood agonies on stage amid laughter and tears. These highly introspective shows, however, came at a price. A self-proclaimed substance abuser and sexaholic, Jordan finally faced his inner demons and reached full recovery in 1996.

TV was an exceptionally inviting medium over the years with a number of offbeat roles coming his way. Noted for his catchy guest work on such shows as Murphy Brown (1988), Lois & Clark: The New Adventures of Superman (1993), Caroline in the City (1995), Star Trek: Voyager (1995), and Weird Science (1994), among many others, he was also a supporting regular on various series including the comedy Top of the Heap (1991) starring Joseph Bologna and pre-Friends (1994), Matt LeBlanc; the legal series Reasonable Doubts (1991) in a season (1992-1993) as an assistant public defender; the crime drama Bodies of Evidence (1992) starring Jennifer Hortin and George Clooney; and the John Ritter/Markie Post romantic comedy Hearts Afire (1992).

Into the millennium, he got to experienced the joy of seeing one of his own writing projects come to full fruition with the semi-autobiographical film Lost in the Pershing Point Hotel (2000). He was also given the chance to recreate his "Big Brother" role in Sordid Lives (2000) to the big screen. The work continued to flow in such film supports as I'll Wave Back (2000), The Gristle (2001), Moving Alan (2003), the short film Farm Sluts (2003), Madhouse (2004), another short film Sissy Frenchfry (2005), Undead or Alive: A Zombedy (2007), Eating Out: All You Can Eat (2009), Mangus! (2011), the critically-acclaimed [link=tt1454029, his stage role as "Peanut" in the gay-themed Southern Baptist Sissies (2013) written and directed by Del Shores, another co-star role as an HOA "dictator" in Whoa! (2013), Lucky Dog (2015), Fear, Inc. (2016), the "Sordid Lives" sequel A Very Sordid Wedding (2017) and the romantic film Until We Meet Again (2022).

TV was even better to him with both delightful and sadly touching work on such series as Ally McBeal (1997), Boston Public (2000), Judging Amy (1999), Monk (2002), Reba (2001), Boston Legal (2004), Ugly Betty (2006), Desperate Housewives (2004), Raising Hope (2010), and American Horror Story (2011). The topper, however, was Leslie's dryly cynical, part-time role as mincing elitist Beverley Leslie, the tiny thorn in Megan Mullally's backside on the resoundingly popular sitcom Will & Grace (1998). Leslie went on to earn an Emmy trading wicked barbs with Mullally's Karen character, playing the hilarity up for all its worth. He also appeared in the cult TV movie The Last Sharknado: It's About Time (2018).

Amiable and handsome James Garner had obtained success in both films and television, often playing variations of the charming anti-hero/con-man persona he first developed in Maverick, the offbeat western TV series that shot him to stardom in the late 1950s.

James Garner was born James Scott Bumgarner in Norman, Oklahoma, to Mildred Scott (Meek) and Weldon Warren Bumgarner, a carpet layer. He dropped out of high school at 16 to join the Merchant Marines. He worked in a variety of jobs and received 2 Purple Hearts when he was wounded twice during the Korean War. He had his first chance to act when a friend got him a non-speaking role in the Broadway stage play "The Caine Mutiny Court Martial (1954)". Part of his work was to read lines to the lead actors and he began to learn the craft of acting. This play led to small television roles, television commercials and eventually a contract with Warner Brothers. Director David Butler saw something in Garner and gave him all the attention he needed when he appeared in The Girl He Left Behind (1956). After co-starring in a handful of films during 1956-57, Warner Brothers gave Garner a co-starring role in the the western series Maverick (1957). Originally planned to alternate between Bart Maverick (Jack Kelly) and Bret Maverick (Garner), the show quickly turned into the Bret Maverick Show. As Maverick, Garner was cool, good-natured, likable and always ready to use his wits to get him in or out of trouble. The series was highly successful, and Garner continued in it into 1960 when he left the series in a dispute over money.

In the early 1960s Garner returned to films, often playing the same type of character he had played on "Maverick". His successful films included The Thrill of It All (1963), Move Over, Darling (1963), The Great Escape (1963) and The Americanization of Emily (1964). After that, his career wandered and when he appeared in the automobile racing movie Grand Prix (1966), he got the bug to race professionally. Soon, this ambition turned to supporting a racing team, not unlike what Paul Newman would do in later years.

Garner found great success in the western comedy Support Your Local Sheriff! (1969). He tried to repeat his success with a sequel, Support Your Local Gunfighter (1971), but it wasn't up to the standards of the first one. After 11 years off the small screen, Garner returned to television in a role not unlike that in Support Your Local Sheriff! (1969). The show was Nichols (1971) and he played the sheriff who would try to solve all problems with his wits and without gun play. When the show was canceled, Garner took the news by having Nichols shot dead, never to return in a sequel. In 1974 he got the role for which he will probably be best remembered, as wry private eye Jim Rockford in the classic The Rockford Files (1974). This became his second major television hit, with Noah Beery Jr. and Stuart Margolin, and in 1977 he won an Emmy for his portrayal. However, a combination of injuries and the discovery that Universal Pictures' "creative bookkeeping" would not give him any of the huge profits the show generated soon soured him and the show ended in 1980. In the 1980s Garner appeared in few movies, but the ones he did make were darker than the likable Garner of old. These included Tank (1984) and Murphy's Romance (1985). For the latter, he was nominated for both the Academy Award and a Golden Globe. Returning to the western mode, he co-starred with the young Bruce Willis in Sunset (1988), a mythical story of Wyatt Earp, Tom Mix and 1920s Hollywood.

In the 1990s Garner received rave reviews for his role in the acclaimed television movie about corporate greed, Barbarians at the Gate (1993). After that he appeared in the theatrical remake of his old television series, Maverick (1994), opposite Mel Gibson. Most of his appearances after that were in numerous TV movies based upon The Rockford Files (1974). His most recent films were My Fellow Americans (1996) and Space Cowboys (2000) .

The archetypal screen tough guy with weatherbeaten features--one film critic described his rugged looks as "a Clark Gable who had been left out in the sun too long"--Charles Bronson was born Charles Buchinsky, one of 15 children of struggling parents in Pennsylvania. His mother, Mary (Valinsky), was born in Pennsylvania, to Lithuanian parents, and his father, Walter Buchinsky, was a Lithuanian immigrant coal miner.

He completed high school and joined his father in the mines (an experience that resulted in a lifetime fear of being in enclosed spaces) and then served in WW II. After his return from the war, Bronson used the GI Bill to study art (a passion he had for the rest of his life), then enrolled at the Pasadena Playhouse in California. One of his teachers was impressed with the young man and recommended him to director Henry Hathaway, resulting in Bronson making his film debut in You're in the Navy Now (1951).

He appeared on screen often early in his career, though usually uncredited. However, he made an impact on audiences as the evil assistant to Vincent Price in the 3-D thriller House of Wax (1953). His sinewy yet muscular physique got him cast in action-type roles, often without a shirt to highlight his manly frame. He received positive notices from critics for his performances in Vera Cruz (1954), Target Zero (1955) and Run of the Arrow (1957). Indie director Roger Corman cast him as the lead in his well-received low-budget gangster flick Machine-Gun Kelly (1958), then Bronson scored the lead in his own TV series, Man with a Camera (1958). The 1960s proved to be the era in which Bronson made his reputation as a man of few words but much action.

Director John Sturges cast him as half Irish/half Mexican gunslinger Bernardo O'Reilly in the smash hit western The Magnificent Seven (1960), and hired him again as tunnel rat Danny Velinski for the WWII POW big-budget epic The Great Escape (1963). Several more strong roles followed, then once again he was back in military uniform, alongside Lee Marvin and Ernest Borgnine in the testosterone-filled The Dirty Dozen (1967).

European audiences had taken a shine to his minimalist acting style, and he headed to the Continent to star in several action-oriented films, including Guns for San Sebastian (1968) (aka "Guns for San Sebastian"), the cult western Once Upon a Time in the West (1968) (aka "Once Upon a Time in The West"), Rider on the Rain (1970) (aka "Rider On The Rain") and, in one of the quirkier examples of international casting, alongside Japansese screen legend Toshirô Mifune in the western Red Sun (1971) (aka "Red Sun").

American audiences were by now keen to see Bronson back on US soil, and he returned triumphantly in the early 1970s to take the lead in more hard-edged crime and western dramas, including The Valachi Papers (1972) and the revenge western Chato's Land (1972). After nearly 25 years as a working actor, he became an 'overnight" sensation. Bronson then hooked up with British director Michael Winner to star in several highly successful urban crime thrillers, including The Mechanic (1972) and The Stone Killer (1973). He then scored a solid hit as a Colorado melon farmer-done-wrong in Richard Fleischer's Mr. Majestyk (1974). However, the film that proved to be a breakthrough for both Bronson and Winner came in 1974 with the release of the controversial Death Wish (1974) (written with Henry Fonda in mind, who turned it down because he was disgusted by the script).

The US was at the time in the midst of rising street crime, and audiences flocked to see a story about a mild-mannered architect who seeks revenge for the murder of his wife and rape of his daughter by gunning down hoods, rapists and killers on the streets of New York City. So popular was the film that it spawned four sequels over the next 20 years.

Action fans could not get enough of tough guy Bronson, and he appeared in what many fans--and critics--consider his best role: Depression-era street fighter Chaney alongside James Coburn in Hard Times (1975). That was followed by the somewhat slow-paced western Breakheart Pass (1975) (with wife Jill Ireland), the light-hearted romp (a flop) From Noon Till Three (1976) and as Soviet agent Grigori Borsov in director Don Siegel's Cold War thriller Telefon (1977).

Bronson remained busy throughout the 1980s, with most of his films taking a more violent tone, and he was pitched as an avenging angel eradicating evildoers in films like the 10 to Midnight (1983), The Evil That Men Do (1984), Assassination (1987) and Kinjite: Forbidden Subjects (1989). Bronson jolted many critics with his forceful work as murdered United Mine Workers leader Jock Yablonski in the TV movie Act of Vengeance (1986), gave a very interesting performance in the Sean Penn-directed The Indian Runner (1991) and surprised everyone with his appearance as compassionate newspaper editor Francis Church in the family film Yes Virginia, There Is a Santa Claus (1991).

Bronson's final film roles were as police commissioner Paul Fein in a well-received trio of crime/drama TV movies Family of Cops (1995), Breach of Faith: A Family of Cops II (1997) and Family of Cops III: Under Suspicion (1999). Unfortunately, ill health began to take its toll; he suffered from Alzheimer's disease for the last few years of his life, and finally passed away from pneumonia at Los Angeles' Cedars-Sinai Medical Center in August 2003.

Bronson was a true icon of international cinema; critics had few good things to say about his films, but he remained a fan favorite in both the US and abroad for 50 years, a claim few other film legends can make.

Angela Lansbury was born in 1925 into a prominent family of the upper middle class living in the Regent's Park neighborhood of London. Her father was socialist politician Edgar Isaac Lansbury (1887-1935), a member of both the Communist Party of Great Britain (CPGB) and the Labour Party. Edgar served as Honorary Treasurer of the East London Federation of Suffragettes (term 1915), and Mayor of Poplar (term 1924-1925). He was the second Communist mayor in British history, the first being Joe Vaughan (1878-1938). Lansbury's mother was Irish film actress Moyna Macgill (1895-1975), originally from Belfast. During the first five years of Angela's life, the Lansbury family lived in a flat located in Poplar. In 1930, they moved to a house located in the Mill Hill neighborhood of north London. They spend their weekends vacationing in a farm located in Berrick Salome, a village in South Oxfordshire.

In 1935, Edgar Lansbury died from stomach cancer. Angela reportedly retreated into "playing characters", as a coping mechanism to deal with the loss. The widowed Moyna Macgill soon became engaged to Leckie Forbes, a Scottish colonel. Moyna moved into his house in Hampstead.

From 1934 to 1939, Angela was a student at South Hampstead High School. During these years, she became interested in films.. She regularly visited the local cinema, and imagined herself in various roles. Angela learned how to play the piano, and received a musical education at the Ritman School of Dancing.

In 1940, Lansbury started her acting education at the Webber Douglas School of Singing and Dramatic Art, located in Kensington, West London. She made her theatrical debut in the school's production of the play "Mary of Scotland" (1933) by Maxwell Anderson (1888-1959). The play depicted the life of Mary, Queen of Scots (1542-1587, reigned 1542-1567), and Lansbury played one of the queen's ladies-in-waiting.

Also in 1940, Lansbury's paternal grandfather, George Lansbury, died from stomach cancer. When the Blitz started, Moyna Macgill had reasons to fear for the safety of her family and few remaining ties to England. Macgill moved to the United States to escape the Blitz, taking her three youngest children with her. Isolde was already a married adult, and was left behind in England.

Macgill secured financial sponsorship from American businessman Charles T. Smith. She and her children (including Angela) moved into Smith's house in Mahopac, New York, a hamlet in Putnam County. Lansbury was interested in continuing her studies, and secured a scholarship from the American Theatre Wing. From 1940 to 1942, Lansbury studied acting at the Feagin School of Dramatic Art, located in New York City. She appeared in performances organized by the school.

In 1942, Lansbury moved with her family to a flat located in Morton Street, Greenwich Village. She soon followed her mother in her theatrical tour of Canada. Lansbury secured her first paying job in Montreal, singing at the nightclub Samovar Club for a payment of 60 dollars per week. Lansbury was 16 years old at the time, but lied about her age and claimed to be 19 in order to be hired.

Lansbury returned to New York City in August, 1942, but Moyna Macgill soon moved herself and her family again. The family moved to Los Angeles, where Moyna was interested in resurrecting her film career. Their first home there was a bungalow in Laurel Canyon, a neighborhood in the Hollywood Hills.

Lansbury helped financially support her family by working for the Bullocks Wilshire department store in Los Angeles. Her weekly wages were only 28 dollars, but she had a secure income while her mother was unemployed. Through her mother, Lansbury was introduced to screenwriter John Van Druten (1901-1957), who had recently completed his script of "Gaslight" (1944). He suggested that young Lansbury would be perfect for the role of Nancy Oliver, the film's conniving cockney maid. This helped secure Lansbury's first film role at the age of 17, and a seven-year contract with the film studio Metro-Goldwyn-Mayer. She earned 500 dollars per week, and chose to continue using her own name instead of a stage name.

In 1945, Lansbury married actor Richard Cromwell (1910-1960), who was 15 years older than she. The troubled marriage ended in a divorce in 1946. The former spouses remained friends until Cromwell's death.

In 1946, Lansbury started a romantic relationship with aspiring actor Peter Shaw (1918-2003), who was 7 years older than her. Shaw had recently ended his relationship with actress Joan Crawford (c. 1908-1977). The new couple started living together, while planning marriage. They wanted to be married in the United Kingdom, but the Church of England refused to marry two divorcees. They were married in 1949, in a Church of Scotland ceremony at St. Columba's Church, located in Knightsbridge, London. After their return to the United States, they settled into Lansbury's home in Rustic Canyon, Malibu. In 1951, both Lansbury and Shaw became naturalized citizens of the United States, while retaining their British citizenship.

Meanwhile, Lansbury continued appearing in MGM films. She appeared in 11 MGM films between 1945 and 1952. MGM at times loaned Lansbury to other film studios. She appeared in United Artists' "The Private Affairs of Bel Ami" (1947), and Paramount Pictures' "Samson and Delilah" (1949). In 1948, Lansbury made her debut in radio roles, followed by her television debut in 1950.

In 1952, Lansbury requested the termination of her contract with MGM, instead of its renewal. She felt unsatisfied with her film career as an MGM contract player. She then joined the East Coast touring productions of two former Broadway plays. By 1953, Lansbury had two children of her own and was also raising a stepson. She and her family moved into a larger house, located on San Vincente Boulevard in Santa Monica. In 1959, she and her family moved into a house in Malibu. The married couple were able to send their children to a local public school.

Meanwhile she continued her film career as a freelance actress, but continued to be cast in middle-aged roles. She regained her A-picture actress through well-received roles in the drama film "The Long, Hot Summer" (1958) and the comedy film "The Reluctant Debutante" (1958). She also appeared regularly in television roles, and became a regular on game show "Pantomime Quiz" (1947-1959).

In 1957, Lansbury made her Broadway debut in a performance of "Hotel Paradiso". The play was an adaptation of the 1894 "L'Hôtel du libre échange" ("Free Exchange Hotel"), written by Maurice Desvallières (1857-1926) and Georges Feydeau (1862-1921). Lansbury's role as "Marcel Cat" was critically well received. She continued appearing in Broadway over the next several years, most notably cast as the verbally abusive mother in "A Taste of Honey". She was cast as the mother of co-star Joan Plowright (1929-), who was only four years younger.

In the early 1960s, Lansbury was cast as an overbearing mother in "Blue Hawaii" (1961). The role of her son was played by Elvis Presley (1935-1977), who was only 10 years than her. The film was a box office hit, it finished as the 10th-top-grossing film of 1961 and 14th for 1962 on the "Variety" national box office survey. It gained Lansbury renewed fame, at a difficult point of her career.

Lansbury gained critical praise for a sympathetic role in the drama film "The Dark at the Top of the Stairs" (1960), and the role of a manipulative mother in the drama film "All Fall Down" (1962). Based on her success in "All Fall Down", she was cast in a similar role in the Cold War-themed thriller "The Manchurian Candidate" (1962). She was cast as Eleanor Iselin, the mother of her co-star Laurence Harvey (1928-1973), who was only 3 years younger than she. This turned out to be one of the most memorable roles in her career. She received critical acclaim and was nominated for a third time for the Academy Award for Best Supporting Actress. The award was instead won by Patty Duke (1946-2016).

Lansbury made a comeback in the starring role of Mame Dennis in the musical "Mame" (1966), by Jerome Lawrence (1915-2004) and Robert Edwin Lee (1918-1994). The play was an adaptation of the novel "Auntie Mame: An Irreverent Escapade" (1955) by Patrick Dennis (1921-1976), and focused on the life and ideas of eccentric bohemian Mame Dennis. The musical received critical and popular praise, and Lansbury won her first Tony Award for Best Leading Actress in a Musical. Lansbury gained significant fame from her success, becoming a "superstar".

Her newfound fame led to other high-profile appearances by Lansbury. She starred in a musical performance at the 1968 Academy Awards ceremony, and co-hosted the 1968 Tony Awards. The Hasty Pudding Club, a social club for Harvard students. elected her "Woman of the Year" in 1968.

Lansbury's next theatrical success was in 1969 "The Madwoman of Chaillot" (1945) by Jean Giraudoux (1882-1944). The play concerns an eccentric Parisian woman's struggles with authority figures. Lansbury was cast in the starring role of 75-year-old Countess Aurelia, despite her actual age of 44. The show was well received and lasted for 132 performances. Lansbury won her second Tony Award for this role.

In 1970, Lansbury's Malibu home was destroyed in a brush fire. Lansbury and her husband decided to buy Knockmourne Glebe, an 1820s Irish farmhouse, located near the village of Conna in rural County Cork.

Her film career reached a new height. She was cast in the starring role of benevolent witch Eglantine Price in Disney's fantasy film "Bedknobs and Broomsticks" (1971). The film was a box-office hit; it was critically well received, and introduced Lansbury to a wider audience of children and families.

In 1972, Lansbury returned to the British stage, performing in London's West End with the Royal Shakespeare Company. In 1973, Lansbury appeared in the role of Rose in London performances of the musical "Gypsy" (1959) by Arthur Laurents. It was quite successful. In 1974, "Gypsy" went on tour in the United States. with the same cast. For her role, Lanbury won the Sarah Siddons Award and her third Tony Award. The musical had its second tour in 1975.

Tired from musicals. Lansbury next sought Shakespearean roles in the United Kingdom. From 1975 to 1976, she appeared as Queen Gertrude in the National Theatre Company's production of Hamlet. In November 1975, Lansbury's mother Moyna Macgill died at the age of 79. Lansbury arranged for her mother's remains to be cremated, and the ashes scattered near her own County Cork home.

In 1976, Lansbury returned to the American stage. In 1978, Lansbury temporarily replaced Constance Towers (1933-) in the starring role of Anna Leonowens (1831-1915) in The King and I. While Towers was on a break from the role, Lansbury appeared in 24 performances.

In 1978, Lansbury appeared in her first film role in seven years, as the novelist and murder victim Salome Otterbourne in the mystery film "Death on the Nile" (1978). The film was an adaptation of the 1937 novel by Agatha Christie (1890-1976); Otterbourne was loosely based on real-life novelist Elinor Glyn (1864-1943). The film was a modest box-office hit, and Lansbury befriended her co-star Bette Davis (1908-1989).

In 1979, Lansbury was cast in the role of meat pie seller Mrs. Lovett in the musical "Sweeney Todd: The Demon Barber of Fleet Street" (1979), by Stephen Sondheim and Hugh Wheeler (1912-1987). The musical was loosely based on the penny dreadful serial novel "The String of Pearls: A Domestic Romance" (1846-1847), which first depicted fictional serial killer Sweeney Todd. Lansbury remained in the role for 14 months, and was then replaced by Dorothy Loudon (1925-2003). Lansbury won her fourth Tony Award for this role. She returned to the role for 10 months in 1980.

Lansbury's next prominent film role was that of Miss Froy in "The Lady Vanishes" (1979), a remake of the 1938 film directed by Alfred Hitchcock (1899-1980). She was next cast in the role of amateur sleuth Miss Jane Marple in the mystery film "The Mirror Crack'd" (1980), an adaptation of the novel "The Mirror Crack'd from Side to Side" (1962) by Agatha Christie. The novel was loosely inspired by the life of Gene Tierney (1920-1991). The film was a modest commercial success. There were plans for at least two sequels, but they ended in development hell.

In 1982, Lansbury was inducted into the American Theatre Hall of Fame, She appeared at the time in the new play "A Little Family Business" and a revival of "Mame", but both shows were commercial failures. In film, Lansbury voiced the witch Mommy Fortuna in the animated fantasy film "The Last Unicorn" (1982). The film was critically well received, but was not a box-office hit.

Lansbury played Ruth in the musical comedy "The Pirates of Penzance" (1983), a film adaptation of the 1879 comic opera by William Schwenck Gilbert (1836-1911) and Arthur Sullivan (1842-1900). The film was a box office bomb, earning about 695,000 dollars.

Lansbury's next film role was that of Granny in the gothic fantasy film "The Company of Wolves" (1984), based on a 1979 short story by Angela Carter (1940-1992). Lansbury was cast as the grandmother of protagonist Rosaleen (played by Sarah Patterson), in a tale featuring werewolves and shape-shifting. The film was critically well received, but barely broke even at the box office.

At about that time, Lansbury appeared regularly in television films and mini-series. Her most prominent television role was that of Jessica Fletcher in the detective series "Murder, She Wrote" (1984-1996). Jessica was depicted as a successful mystery novelist from Maine who encounters and solves many murders. The character was considered an American counterpart to Miss Marple. The series followed the "whodunit" format and mostly avoided depictions of violence or gore.

The series was considered a television landmark for having an older female character as the protagonist. It was aimed primarily at middle-aged audiences, but also attracted both younger viewers and senior citizen viewers. Ratings remained high for most of its run. Lansbury rejected pressure from network executives to put her character in a relationship, as she believed that Fletcher should remain a strong single female.

In 1989, Lansbury co-founded the production company Corymore Productions, which started co-producing the television series with Universal Television. This allowed Lansbury to have more creative input on the series. She was appointed an executive producer. By the time the series ended in 1996, it tied with the original "Hawaii Five-O" (1968-1980) as the longest-running detective drama series in television history.

Her popularity from "Murder, She Wrote" made Lansbury a much-sought figure for advertisers. She appeared in advertisements and infomercials for Bufferin, MasterCard and the Beatrix Potter Company.

Lansbury's highest-profile film role in decades was voicing the character of singing teapot Mrs. Potts in Disney's animated fantasy film "Beauty and the Beast" (1991). Lansbury performed the film's title song, which won the Academy Award for Best Original Song, the Golden Globe Award for Best Original Song, and the Grammy Award for Best Song Written for a Motion Picture, Television or Other Visual Media.

During the late 1980s and 1990s, Lansbury lived most of the year in California. In 1991, she had Corymore House, a farmhouse at Ballywilliam, County Cork, built as her new family home. She spend Christmases and summers there.

Following the end of "Murder, She Wrote", Lansbury returned to a career as a theatrical actress. She temporarily retired from the stage in 2001, to take care of her husband Peter Shaw, whose health was failing. Shaw died in 2003, from congestive heart failure at the couple's Brentwood, California home. Their marriage had lasted for 54 years (1949-2003).

Lansbury felt at the time that she could not take on any more major acting roles, but that she could still make cameos. She moved back to New York City in 2006, buying a condominium in Manhattan. Her first prominent film role in years was that of Aunt Adelaide in the fantasy film "Nanny McPhee" (2005). She credits her performance in the film with pulling her out of depression, a state of mind which had lasted since her husband's death.

Lansbury returned to performing on the Broadway stage in 2007, after an absence of 23 years. In 2009, she won her fifth Tony Award. She shared the record for most Tony Award victories with Julie Harris (1925-2013). In the 2010s, she continued regularly appearing in theatrical performances. In 2014, she returned to the London stage, after an absence of nearly 40 years.

In 2015, Lansbury received her first Olivier Award for Best Supporting Actress. At age 89, she was among the oldest first-time winners. Also in 2015, November 2015 was awarded the Oscar Hammerstein Award for Lifetime Achievement in Musical Theatre.

In 2017, she was cast as Aunt March in the mini-series "Little Women". The mini-series was an adaptation of the 1868-1869 novel of the same name by Louisa May Alcott (1832-1888). The series lasted for 3 episodes, and was critically well received.

In 2018, Lansbury gained her next film role in Disney's fantasy film "Mary Poppins Returns" (2018), a sequel to "Mary Poppins". Lansbury was cast in the role of the Balloon Lady, a kindly old woman who sells balloons at the park. The films was a commercial hit, earning about 350 million dollars at the worldwide box office.

In 2019, Lansbury performed at a one-night benefit staging of Oscar Wilde's play "The Importance of Being Earnest" (1895). a farce satirizing Victorian morals. She was cast in the role of society lady Lady Bracknell, mother to Gwendolen Fairfax.

By 2020, Lansbury was 95 years old, one of the oldest-living actresses. She has never retired from acting, and remains a popular icon.

As a film character actor, Klugman was the epitome of the everyman. He was one of the pioneers of television acting in the 1950s, and is best remembered for his 1970s TV work as Oscar Madison on The Odd Couple (1970) and as the medical examiner on Quincy, M.E. (1976).

Matthew Perry was born in Williamstown, Massachusetts, to Suzanne Marie (Langford), a Canadian journalist, and John Bennett Perry, an American actor. His ancestry includes English, Irish, German, Swiss-German, and French-Canadian.

Perry was raised in Ottawa, Ontario, where he became a top-ranked junior tennis player in Canada. However, after moving to Los Angeles at the age of 15 to live with his father, he became more interested in acting. In addition to performing in several high school stage productions, he remained an avid tennis player. Perry ranked 17th nationally in the junior singles category and third in the doubles category. Upon graduating from high school, Perry intended to enroll at the University of Southern California. However, when he was offered a leading role on the television series, Boys Will Be Boys (1987), he seized the opportunity to begin his acting career.

Perry appeared in the hit comedy film The Whole Nine Yards (2000), as the neighbor of a hit man, played by Bruce Willis. His other feature film credits included Fools Rush In (1997), A Night in the Life of Jimmy Reardon (1988), She's Out of Control (1989) and Parallel Lives (1994). He also co-starred with Chris Farley in the buddy comedy Almost Heroes (1998) and in the romantic comedy, Three to Tango (1999), opposite Neve Campbell. Perry resided in Los Angeles. He enjoyed playing ice hockey and softball in his spare time.

Eve Arden was born Eunice Mary Quedens in Mill Valley, California (near San Francisco), and was interested in show business from an early age. At 16, she made her stage debut after quitting school to join a stock company. After appearing in minor roles in two films under her real name, Eunice Quedens, she found that the stage offered her the same minor roles. By the mid 30s, one of these minor roles would attract notice as a comedy sketch in the stage play "Ziegfeld Follies".

By that time, she had changed her name to Eve Arden, which she adopted while looking over some cosmetics and spotting the names "Evening in Paris" and "Elizabeth Arden". In 1937, she garnered some attention with a small role in Oh, Doctor (1937), which led to her being cast in a minor role in the film Stage Door (1937). By the time the film was finished, her part had expanded into the wise-cracking, fast-talking friend to the lead. She would play virtually the character for most of her career.

While her sophisticated wise-cracking would never make her the lead, she would be a busy actress in dozens of movies over the next dozen years. In At the Circus (1939), she was the acrobatic Peerless Pauline opposite Groucho Marx and the Russian sharp shooter in the comedy The Doughgirls (1944). For her role as Ida in Mildred Pierce (1945), she received an Academy Award nomination. Famous for her quick ripostes, this led to work in Radio during the 1940s. In 1948, CBS Radio premiered "Our Miss Brooks", which would be the perfect show for her character. As her film career began to slow, CBS would take the popular radio show to television in 1952. The television series Our Miss Brooks (1952) would run through 1956 and led to the movie Our Miss Brooks (1956).

When the show ended, Arden tried another television series, The Eve Arden Show (1957), but it was soon canceled. In the 1960s, Arden raised a family and did a few guest roles, until her come-back television series The Mothers-In-Law (1967). This show, co-starring Kaye Ballard ran for two seasons. After that, she would make more unsold pilots, a couple of television movies and a few guest shots. She returned in occasional cameo appearances including as Principal McGee in Grease (1978), and Warden June in Pandemonium (1982).

Multi-talented and unconventional actor/director regarded by many as one of the true "enfant terribles" of Hollywood who led an amazing cinematic career for more than five decades, Dennis Hopper was born on May 17, 1936, in Dodge City, Kansas. The young Hopper expressed interest in acting from a young age and first appeared in a slew of 1950s television shows, including Medic (1954), Cheyenne (1955) and Sugarfoot (1957). His first film role was in Rebel Without a Cause (1955), quickly followed by Giant (1956) and Gunfight at the O.K. Corral (1957). Hopper actually became good friends with James Dean and was shattered when Dean was killed in a car crash in September 1955.

Hopper portrayed a young Napoléon Bonaparte (!) in the star-spangled The Story of Mankind (1957) and regularly appeared on screen throughout the 1960s, often in rather undemanding parts, usually as a villain in westerns such as True Grit (1969) and Hang 'Em High (1968). However, in early 1969, Hopper, fellow actor Peter Fonda and writer Terry Southern, wrote a counterculture road movie script and managed to scrape together $400,000 in financial backing. Hopper directed the low-budget film, titled Easy Rider (1969), starring Fonda, Hopper and a young Jack Nicholson. The film was a phenomenal box-office success, appealing to the anti-establishment youth culture of the times. It changed the Hollywood landscape almost overnight and major studios all jumped onto the anti-establishment bandwagon, pumping out low-budget films about rebellious hippies, bikers, draft dodgers and pot smokers. However, Hopper's next directorial effort, The Last Movie (1971), was a critical and financial failure, and he has admitted that during the 1970s he was seriously abusing various substances, both legal and illegal, which led to a downturn in the quality of his work. He appeared in a sparse collection of European-produced films over the next eight years, before cropping up in a memorable performance as a pot-smoking photographer alongside Marlon Brando and Martin Sheen in Francis Ford Coppola's Vietnam War epic Apocalypse Now (1979). He also received acclaim for his work in both acting and direction for Out of the Blue (1980).

With these two notable efforts, the beginning of the 1980s saw a renaissance of interest by Hollywood in the talents of Dennis Hopper and exorcising the demons of drugs and alcohol via a rehabilitation program meant a return to invigorating and provoking performances. He was superb in Rumble Fish (1983), co-starred in the tepid spy thriller The Osterman Weekend (1983), played a groovy school teacher in My Science Project (1985), was a despicable and deranged drug dealer in River's Edge (1986) and, most memorably, electrified audiences as foul-mouthed Frank Booth in the eerie and erotic David Lynch film Blue Velvet (1986). Interestingly, the offbeat Hopper was selected in the early 1980s to provide the voice of "The StoryTeller" in the animated series of "Rabbit Ears" children's films based upon the works of Hans Christian Andersen!

Hopper returned to film direction in the late 1980s and was at the helm of the controversial gang film Colors (1988), which was well received by both critics and audiences. He was back in front of the cameras for roles in Super Mario Bros. (1993), got on the wrong side of gangster Christopher Walken in True Romance (1993), led police officer Keanu Reeves and bus passenger Sandra Bullock on a deadly ride in Speed (1994) and challenged gill-man Kevin Costner for world supremacy in Waterworld (1995). The enigmatic Hopper continued to remain busy through the 1990s and into the new century with performances in All the Way (2003), The Keeper (2004) and Land of the Dead (2005).

As well as his acting/directing talents, Hopper was a skilled photographer and painter, having had his works displayed in galleries in both the United States and overseas. He was additionally a dedicated and knowledgeable collector of modern art and had one of the most extensive collections in the United States. Dennis died of prostate cancer on May 29, 2010, less than two weeks after his 74th birthday.

A masculine and enigmatic actor whose life and movie career have had more ups and downs than the average rollercoaster and whose selection of roles has arguably derailed him from achieving true superstar status, James Caan is New York-born and bred.

He was born in the Bronx, to Sophie (Falkenstein) and Arthur Caan, Jewish immigrants from Germany. His father was a meat dealer and butcher. The athletically gifted Caan played football at Michigan State University while studying economics, holds a black belt in karate and for several years was even a regular on the rodeo circuit, where he was nicknamed "The Jewish Cowboy". However, while studying at Hofstra University, he became intrigued by acting and was interviewed and accepted at Sanford Meisner's Neighborhood Playhouse. He then won a scholarship to study under acting coach Wynn Handman and began to appear in several off-Broadway productions, including "I Roam" and "Mandingo".

He made his screen debut as a sailor in Irma la Douce (1963) and began to impress audiences with his work in Red Line 7000 (1965) and the western El Dorado (1966) alongside John Wayne and Robert Mitchum. Further work followed in Journey to Shiloh (1968) and in the sensitive The Rain People (1969). However, audiences were moved to tears as he put in a heart-rending performance as cancer-stricken Chicago Bears running back Brian Piccolo in the highly rated made-for-TV film Brian's Song (1971).

With these strong performances under his belt, Francis Ford Coppola then cast him as hot-tempered gangster Santino "Sonny" Corleone in the Mafia epic The Godfather (1972). The film was an enormous success, Caan scored a Best Supporting Actor nomination and, in the years since, the role has proven to be the one most fondly remembered by his legion of fans. He reprised the role for several flashback scenes in the sequel The Godfather Part II (1974) and then moved on to several very diverse projects. These included a cop-buddy crime partnership with Alan Arkin in the uneven Freebie and the Bean (1974), a superb performance as a man playing for his life in The Gambler (1974) alongside Lauren Hutton, and pairing with Barbra Streisand in Funny Lady (1975). Two further strong lead roles came up for him in 1975, first as futuristic sports star "Jonathon E" questioning the moral fiber of a sterile society in Rollerball (1975) and teaming up with Robert Duvall in the Sam Peckinpah spy thriller The Killer Elite (1975).

Unfortunately, Caan's rising star sputtered badly at this stage of his career, and several film projects failed to find fire with either critics or audiences. These included such failures as the hokey Harry and Walter Go to New York (1976), the quasi-western Comes a Horseman (1978) and the saccharine Chapter Two (1979). However, he did score again with the stylish Michael Mann-directed heist movie Thief (1981). He followed this with a supernatural romantic comedy titled Kiss Me Goodbye (1982) and then, due to personal conflicts, dropped out of the spotlight for several years before returning with a stellar performance under old friend Francis Ford Coppola in the moving Gardens of Stone (1987).

Caan appeared back in favor with fans and critics alike and raised his visibility with the sci-fi hit Alien Nation (1988) and Dick Tracy (1990), then surprised everyone by playing a meek romance novelist held captive after a car accident by a deranged fan in the dynamic Misery (1990). The 1990s were kind to him and he notched up roles as a band leader in For the Boys (1991), another gangster in Honeymoon in Vegas (1992), appeared in the indie hit Bottle Rocket (1996) and pursued Arnold Schwarzenegger in Eraser (1996).

The demand on Caan's talents seems to have increased steadily over the past few years as he is making himself known to a new generation of fans. Recent hot onscreen roles have included The Yards (2000), City of Ghosts (2002) and Dogville (2003). In addition, he finds himself at the helm of the hit TV series Las Vegas (2003) as casino security chief "Big Ed" Deline. An actor of undeniably manly appeal, James Caan continued to surprise and delight audiences with his invigorating performances up until his death in July 2022 at the age of 82.

Burly, talented character actor who remained consistently busy playing "rough edged" or scary characters, often on the wrong side of the law. Young was born on April 30, 1940, in New York City, the son of a high school shop teacher. He is of Italian descent. Young received his dramatic arts training under acting coach Lee Strasberg at the Actors Studio.

Young first gathered notice playing tough thugs in such films as The Gang That Couldn't Shoot Straight (1971), Across 110th Street (1972), Chinatown (1974) and The Gambler (1974). Director Sam Peckinpah cast Young as the getaway driver/assassin, "Mac", in The Killer Elite (1975), and Young came to the attention of newcomer Sylvester Stallone, who cast him as future brother-in-law "Paulie" in the 1976 sleeper hit Rocky (1976).

Young was nominated for an Oscar, and has gone on to reprise the role in all five "Rocky" sequels to date! Peckinpah re-hired him to play renegade trucker "Pigpen" in the moderately successful Convoy (1978) (watch for "Pigpen's" Mack truck where the writing on the door states "Paulie Hauling"!).

Young also appeared in Once Upon a Time in America (1984), The Pope of Greenwich Village (1984), Last Exit to Brooklyn (1989), Mickey Blue Eyes (1999) and The Adventures of Pluto Nash (2002).