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Billionaire businessman, film producer, film director, and aviator, born in Humble, Texas just north of Houston. He studied at two prestigious institutions of higher learning: Rice University in Houston and California Institute of Technology in Pasadena, California. Inherited his father's machine tool company in 1923. In 1926 he ventured into films, producing Les anges de l'enfer (1930), Scarface (1932) and Le banni (1943). He also founded his own aircraft company, designed, built and flew his own aircraft, and broke several world air speed records (1935-1938). His most famous aircraft, the Hercules (nicknamed "The Spruce Goose"), which was as he discovered, an under-powered wooden seaplane designed to carry 750 passengers. That plane was completed in 1947, but flew only once over a distance of one mile despite having eight Pratt & Whitney Wasp Major engines, among the most powerful radial piston engines of the day. Throughout his life he shunned publicity, eventually becoming a recluse but still controlling his vast business interests from sealed-off hotel suites, and giving rise to endless rumors and speculation. In 1971 an "authorized" biography was announced, but the authors wound up in prison for fraud, and the mystery surrounding him continued until his death in Houston. He is buried in Glenwood Cemetery, Houston

London-born character actor George Richard Haydon was noted for his put-on nasal delivery and pompous, fussy manner. Haydn had a laborious start to his show business career, selling tickets in the box office of London's Daly Theatre. This was followed by an unsuccessful stint with a comedy act in musical revue. For a change of pace, he became overseer of a Jamaican banana plantation only to see it wiped out by a hurricane.

Returning home, he appeared in the 1926 West End production of 'Betty of Mayfair' and, soon after, also began to act on radio. It was in this medium where he first found success, creating his signature character: the perpetually befuddled nasally-voiced fish expert and mother's boy Edwin Carp. Haydn later immortalized the titular character in a book, titled "The Journal of Edwin Carp". The Carp routine opened the door for Haydn to appear with Beatrice Lillie on Broadway in Noël Coward's 'Set to Music' (1939) and this, in turn, resulted in a contract with 20th Century Fox.

While his first major screen role in Charley's Aunt (1941) was relatively straight-laced, he was more often seen in comedic roles where his lugubrious face and dignified, sometimes unctuous presence could be employed to scene-stealing effect. His notable characterizations in this vein include the over-enunciating Professor Oddly in Boule de feu (1941), Rogers (the butler) in Dix petits indiens (1945) and Mr. Wilson in La folle ingénue (1946). He essayed a rare villainous role as the odious Earl of Radcliffe in the period drama Ambre (1947) and was back to his usual form as Mr. Appleton in Bonne à tout faire (1948). In Un mariage à Boston (1947), he played the character of Horatio Willing "with a broad edge of wheezy burlesque" (so wrote Bosley Crowther of the New York Times, March 21, 1947).

In the late 40s, Haydn made a brief foray into directing. Of his three films for Paramount, the Bing Crosby vehicle Mr. Music (1950) enjoyed the best critical reviews. Among his later appearances on screen, that of Trapp family friend and promoter Max Detweiler in La Mélodie du bonheur (1965), is the one which most often comes to mind. Over the years, he also made an impression as a voice actor in animated cartoons, notably on Warner Brothers Looney Tunes and as the Caterpillar from Alice au pays des merveilles (1951). He had frequent guest roles on television and starred in one of the best-remembered episodes of Rod Serling's La quatrième dimension (1959) ("A Thing About Machines"), as the arrogant machine-hating pedant Bartlett Finchley who loses a pitched battle with his household appliances, in particular his car. Haydn also caricatured a Japanese businessman in an episode of Ma sorcière bien aimée (1964).

In private life, Haydn was a rather reclusive individual who liked horticulture and shunned interviews.

American character actor who specialized in average-guy parts and who could be equally effective in sympathetic or unlikeable roles. His parents, the vaudeville team of Ruf and Cusik, took him onstage with them when he was a baby, and Faylen grew up in the theatre. He attended St. Joseph's Preparatory College in Kirkwood, Missouri, but returned to vaudeville as a comic pantomimist. He toured the country throughout the late Twenties and early Thirties as a clown and later as song-and-dance man with acrobatic agility. During a tour stop in Los Angeles, he was screen tested and began a thirty-year career as one of Hollywood's most familiar character players. His most famous film roles were as the vicious male nurse Bim in Le Poison (1945) and as the cabdriver Ernie in La vie est belle (1946). But his greatest fame came in television, particularly as Dobie's dad Herbert T. Gillis in Dobie Gillis (1959). Faylen was married to actress Carol Hughes, with whom he had two daughters. He retired after Funny Girl (1968), and died in 1985.

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

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

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

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

It was Hayward who persuaded the 29-year old to become a motion picture actor, despite initial misgivings and reluctance on Henry's part. Independent producer Walter Wanger, whose growing stock company was birthed at United Artists, needed a star for La jolie batelière (1935). With both first choice actors Gary Cooper and Joel McCrea otherwise engaged, Henry was the next available option. After all, he had just completed a successful run on Broadway in the stage version. The cheesy publicity tag line for the picture was "you'll be fonder of Fonda", but the film was an undeniable hit. Wanger, realizing he had a good thing going, next cast Henry in a succession of A-grade pictures which capitalized on his image as the sincere, unaffected country boy. Pick of the bunch were the Technicolor outdoor western La fille du bois maudit (1936), the gritty Depression-era drama J'ai le droit de vivre (1937) (with Henry as a back-to-the-wall good guy forced into becoming a fugitive from the law by circumstance), the screwball comedy Le diable au corps (1936) (with ex-wife Sullavan), the excellent pre-civil war-era romantic drama L'insoumise (1938) and the equally superb Vers sa destinée (1939), in which Henry gave his best screen performance to date as the 'jackleg lawyer from Springfield'. Henry made two more films with director John Ford: the pioneering drama Sur la piste des Mohawks (1939) and Les Raisins de la colère (1940), with Henry as Tom Joad, often regarded his career-defining role as the archetypal grassroots American trying to stand up against oppression. It also set the tone for his subsequent career. Whether he played a lawman (Wyatt Earp in La poursuite infernale (1946)), a reluctant posse member (L'étrange incident (1943), a juror committed to the ideal of total justice in (12 Hommes en colère (1957)) or a nightclub musician wrongly accused of murder (Le faux coupable (1956)), his characters were alike in projecting integrity and quiet authority. In this vein, he also gave a totally convincing (though historically inaccurate) portrayal in the titular role of Le retour de Frank James (1940), a rare example of a sequel improving upon the original.

Henry rarely featured in comedy, except for a couple of good turns opposite Barbara Stanwyck -- with whom he shared an excellent on-screen chemistry -- in Miss Manton est folle (1938) and Un coeur pris au piège (1941). He was also good value as a poker-playing grifter in the western comedy Gros coup à Dodge City (1966). Finally, just to confound those who would typecast him, he gave a chilling performance as one of the coldest, meanest stone killers ever to roam the West, in Sergio Leone's classic Il était une fois dans l'Ouest (1968). Illness curtailed his work in the 1970s. His final screen role was as an octogenarian in La maison du lac (1981), in which he was joined by his daughter Jane. It finally won him an Oscar on the heels of an earlier Honorary Academy Award. Too ill to attend the ceremony, he died soon after at the age of 77, having left a lasting legacy matched by few of his peers.

Mean, miserly and miserable-looking, they didn't come packaged with a more annoying and irksome bow than Charles Lane. Glimpsing even a bent smile from this unending sourpuss was extremely rare, unless one perhaps caught him in a moment of insidious glee after carrying out one of his many nefarious schemes. Certainly not a man's man on film or TV by any stretch, Lane was a character's character. An omnipresent face in hundreds of movies and TV sitcoms, the scrawny, scowling, beady-eyed, beak-nosed killjoy who usually could be found peering disdainfully over a pair of specs, brought out many a comic moment simply by dampening the spirit of his nemesis. Whether a Grinch-like rent collector, IRS agent, judge, doctor, salesman, reporter, inspector or neighbor from hell, Lane made a comfortable acting niche for himself making life wretched for someone somewhere.

He was born Charles Gerstle Levison on January 26, 1905 in San Francisco and was actually one of the last survivors of that city's famous 1906 earthquake. He started out his working-class existence selling insurance but that soon changed. After dabbling here and there in various theatre shows, he was prodded by a friend, director Irving Pichel, to consider acting as a profession. In 1928 he joined the Pasadena Playhouse company, which, at the time, had built up a solid reputation for training stage actors for the cinema. While there he performed in scores of classical and contemporary plays. He made his film debut anonymously as a hotel clerk in Le Beau Joueur (1931) starring Edward G. Robinson and James Cagney and was one of the first to join the Screen Actor's Guild. He typically performed many of his early atmospheric roles without screen credit and at a cost of $35 per day, but he always managed to seize the moment with whatever brief bit he happened to be in. People always remembered that face and raspy drone of a voice. He appeared in so many pictures (in 1933 alone he made 23 films!), that he would occasionally go out and treat himself to a movie only to find himself on screen, forgetting completely that he had done a role in the film. By 1947 the popular character actor was making $750 a week.

Among his scores of cookie-cutter crank roles, Lane was in top form as the stage manager in Train de luxe (1934); the Internal Revenue Service agent in Vous ne l'emporterez pas avec vous (1938); the newsman in Mr. Smith au sénat (1939); the rent collector in La vie est belle (1946); the recurring role of Doc Jed Prouty, in the "Ellery Queen" film series of the 1940s, and as the draft board driver in Deux farfelus au régiment (1958). A minor mainstay for Frank Capra, the famed director utilized the actor's services for nine of his finest films, including a few of the aforementioned plus L'extravagant Mr. Deeds (1936), Arsenic et vieilles dentelles (1944) and L'enjeu (1948).

Lane's career was interrupted for a time serving in the Coast Guard during WWII. In post-war years, he found TV quite welcoming, settling there as well for well over four decades. Practically every week during the 1950s and 1960s, one could find him displaying somewhere his patented "slow burn" on a popular sitcom - Topper (1953), The Real McCoys (1957), Dobie Gillis (1959), Monsieur Ed, le cheval qui parle (1961), Ma sorcière bien aimée (1964), Max la menace (1965), Gomer Pyle, U.S.M.C. (1964), Les monstres (1964), Les arpents verts (1965), The Flying Nun (1967) and Maude (1972). He hassled the best sitcom stars of the day, notably Lucille Ball (an old friend from the RKO days with whom he worked multiple times), Andy Griffith and Danny Thomas. Recurring roles on Denis la petite peste (1959), The Beverly Hillbillies (1962) and Soap (1977) made him just as familiar to young and old alike. Tops on the list had to be his crusty railroad exec Homer Bedloe who periodically caused bucolic bedlam with his nefarious schemes to shut down the Hooterville Cannonball on Petticoat Junction (1963). He could also play it straightforward and serious as demonstrated by his work in La quatrième dimension (1959), Perry Mason (1957), La petite maison dans la prairie (1974) and La loi de Los Angeles (1986).

A benevolent gent in real life, Lane was seen less and less as time went by. One memorable role in his twilight years was as the rueful child pediatrician who chose to overlook the warning signs of child abuse in the excellent TV movie Sybil (1976). One of Lane's last on-screen roles was in the TV-movie remake of Le cerveau artificiel (1995) at age 90. Just before his death he was working on a documentary on his long career entitled "You Know the Face".

Cinematically speaking, perhaps the good ones do die young, for the irascible Lane lived to be 102 years old. He died peacefully at his Brentwood, California home, outliving his wife of 71 years, former actress Ruth Covell, who died in 2002. A daughter, a son and a granddaughter all survived him.

Popular American character actor of amusing appearance and voice whose long career led from dozens of highly enjoyable onscreen performances to world-wide familiarity as the voice of numerous Walt Disney animated films. Born in the American Deep South to grocer Sterling P. Holloway Sr. and Rebecca Boothby Holloway, he had a younger brother, Boothby. Holloway spent his early years as an actor playing comic juveniles on the stage. His bushy reddish-blond hair and trademark near-falsetto voice made him a natural for sound pictures, and he acted in scores of talkies, although he had made his picture debut in silents. His physical image and voice relegated him almost exclusively to comic roles, but in 1945, director Lewis Milestone cast him more or less against type in the classic war film Commando de la mort (1945), where Holloway's portrayal of a reluctant soldier was quite notable. He played frequently on television, becoming familiar to baby-boomers in a recurring role as Uncle Oscar on Superman (1952), and later in television series of his own. His later work as the voice of numerous characters in Disney cartoons brought him new audiences and many fans, especially for his voicing of beloved Winnie the Pooh. He died in 1992.

Myrna Williams, later to become Myrna Loy, was born on August 2, 1905 in Helena, Montana. Her father was the youngest person ever elected to the Montana State legislature. Later on her family moved to Radersburg where she spent her youth on a cattle ranch. At the age of 13, Myrna's father died of influenza and the rest of the family moved to Los Angeles. She was educated in L.A. at the Westlake School for Girls where she caught the acting bug. She started at the age of 15 when she appeared in local stage productions in order to help support her family. Some of the stage plays were held in the now famous Grauman's Theater in Hollywood. Mrs. Rudolph Valentino happened to be in the audience one night who managed to pull some strings to get Myrna some parts in the motion picture industry. Her first film was a small part in the production of What Price Beauty? (1925). Later she appeared the same year in Les feux de la rampe (1925) along with Joan Crawford. She was one of the few stars that would start in silent movies and make a successful transition into the sound era. In the silent films, Myrna would appear as an exotic femme fatale. Later in the sound era, she would become a refined, wholesome character. Unable to land a contract with MGM, she continued to appear in small, bit roles, nothing that one could really call acting. In 1926, Myrna appeared in the Warner Brothers film called Satan in Sables (1925) which, at long last, landed her a contract. Her first appearance as a contract player was Pourvu que ça dure (1926) where she played a maid. Although she was typecast over and over again as a vamp, Myrna continued to stay busy with small parts. Finally, in 1927, she received star billing in Bitter Apples (1927). The excitement was short lived as she returned to the usual smaller roles afterward. Myrna would take any role that would give her exposure and showcase the talent she felt was being wasted. It seemed that she would play one vamp after another. She wanted something better. Finally her contract ran out with WB and she signed with MGM where she got two meaty roles. One was in the Un coeur, deux poings (1933), and the other as Nora Charles in L'introuvable (1934) with William Powell. Most agreed that the Thin Man series would never have been successful without Myrna. Her witty perception of situations gave her the image that one could not pull a fast one over on the no-nonsense Mrs. Charles. After The Thin Man, Myrna would appear in five more in the series. Myrna was a big box-office draw. She was popular enough that, in 1936, she was named Queen of the Movies and Clark Gable the king in a nationwide poll of movie goers. Her popularity was at its zenith. With the outbreak of World War II, Myrna all but abandoned her acting career to focus on the war effort. After making THE SHADOW OF THE THIN MAN in November of 1941, Myrna more or less stayed away from Hollywood for five years. She broke this hiatus to appear in one Thin Man sequel while devoting most of her time working with the Red Cross. When she did return her star quality had not diminished a bit, as evidenced by her headlining Les Plus Belles Années de notre vie (1946). The film did superbly at the box-office, winning the Academy Award for Best Picture in 1947. With her career in high gear again, Myrna played opposite Cary Grant in back-to-back hits Deux soeurs vivaient en paix... (1947) and Un million clefs en main (1948). She continued to make films through the '50s but the roles started getting fewer, her biggest success coming at the start of that decade with Treize à la douzaine (1950). By the 1960s the parts had all but dried up as producers and directors looked elsewhere for talent. In 1960 she appeared in Piège à minuit (1960) and was not in another film until 1969 in Folies d'avril (1969). The 1970s found her mainly in TV movies, not theatrical productions, except for small roles in 747 en péril (1974) and Suicidez-moi docteur (1978). Her last film was in 1981 called Summer Solstice (1981), and her final acting credit was a guest spot on the sitcom Love, Sidney (1981) in 1982. By the time Myrna passed away, on December 14, 1993, at the age of 88, she had appeared in a phenomenal 129 motion pictures. She was buried in Helena, Montana.

Clara Gordon Bow, destined to become "The It Girl", was born on July 29, 1905 in Brooklyn, New York, and was raised in poverty and violence. Her often absentee and brutish father could not or did not provide and her schizophrenic mother tried to slit Clara's throat when the girl spoke of becoming an actress. Bow, nonetheless, won a photo beauty contest which launched her movie career that would eventually number 58 films, from 1922 to 1933.

The movie Le coup de foudre (1927) defined her career. The film starred Clara as a shopgirl who was asked out by the store's owner. As you watch the silent film you can see the excitement as she prepared for her date with the boss, her friend trying hard to assist her. She used a pair of scissors to modify her dress to try to look "sexier." The movie did much to change society's mores as there were only a few years between World War I and Clara Bow, but this movie went a long way in how society looked at itself. Clara was flaming youth in rebellion. In the film she presented a worldly wisdom that somehow sex meant having a good time. But the movie shouldn't mislead the viewer, because when her boss tries to kiss her goodnight, she slaps him. At the height of her popularity she received over 45,000 fan letters a month. Also, she was probably the most overworked and underpaid star in the industry. With the coming of sound, her popularity waned. Clara was also involved in several court battles ranging from unpaid taxes to being in divorce court for "stealing" women's husbands. After the court trials, she made a couple of attempts to get back in the public eye. One was Fille de feu (1932) in 1932. It was somewhat of a failure at the box office and her last was in 1933 in a film called Houp là (1933).

She then married cowboy star Rex Bell at 26 and retired from the film world at 28. She doted on her two sons and did everything to please them. Haunted by a weight problem and a mental imbalance, she never re-entered show business. She was confined to sanitariums from time to time and prohibited access to her beloved sons. She died of a heart attack in West Los Angeles, on September 26, 1965 at age 60. Today she is finding a renaissance among movie buffs, who are recently discovering the virtues of silent film. The actress who wanted so much to be like the wonderful young lady in Le coup de foudre (1927) has the legacy of her films to confirm that she was a wonderful lady and America's first sex symbol.

Joseph Cheshire Cotten, Jr. was born in Petersburg, Virginia, into a well-to-do Southern family. He was the eldest of three sons born to Sally Whitworth (Willson) and Joseph Cheshire Cotten, Sr., an assistant postmaster.

Jo (as he was known) and his brothers Whit and Sam spent their summers at their aunt and uncle's home at Virginia Beach. And there and at an early age he discovered a passion for story-telling, reciting, and performing acts for his family. Cotten studied acting at the Hickman School of Expression in Washington, D.C. and worked as an advertising agent afterward. But by 1924 tried to enter acting in New York. His money opportunities were limited to shipping clerk, and after a year of attempting stage work, he left with friends, heading for Miami. There he found a variety of jobs: lifeguard, salesman, a stint as entrepreneur -- making and selling 'Tip Top Potato Salad' - but more significantly, drama critic for the Miami Herald. That evidently led to appearance in plays at the Miami Civic Theater. Through a connection at the Miami Herald he managed to land an assistant stage manager job in New York. In 1929 he was engaged for a season at the Copley Theatre in Boston, and there he was able to expand his acting experience, appearing in 30 plays in a wide variety of parts. By 1930 he made his Broadway debut. In 1931 Cotten married Lenore LaMont (usually known as Kipp), a pianist, divorced with a four-year-old daughter.

To augment his income as an actor in the mid-30s, Cotten took on radio shows in addition to his theatre work. At one audition he met an ambitious, budding actor/writer/director/producer with a mission to make his name-Orson Welles. Cotten was 10 years his senior, but the two found a kindred spirit in one another. For Cotten, Welles association would completely redirect his serious acting life. Their early co-acting attempts boded ill for employment in formal acting vehicles. At a rehearsal for CBS radio the two destroyed a scene taking place on a rubber tree plantation. One or the other was supposed to say the line: "Barrels and barrels of pith...." They could not overcome uncontrolled laughter at each attempt. The director berated them as acting like 'school-children' and 'unprofessional', and thereafter both were considered unreliable. Welles's ambition put that quickly behind them when he formed The Mercury Theatre Players. Coming on board were later Hollywood stalwarts: Everett Sloane, Agnes Moorehead, Ruth Warrick, and Ray Collins. In 1937, Cotten starred in Welles's Mercury productions of "Julius Caesar" and "Shoemaker's Holiday". And he made his film debut in the Welles-directed short Too Much Johnson (1938), a comedy based on William Gillette's 1890 play. The short was occasionally screened before or after Mercury productions, but never received an official release. Cotten returned to Broadway in 1939, starring as C.K. Dexter Haven in the original production of Philip Barry's "The Philadelphia Story". The uproar over Welles's "War of the Worlds" radio broadcast, was rewarded with an impressive contract from RKO Pictures. The two-picture deal promised full creative control for the young director, and Welles brought his Mercury players on-board in feature roles in what he chose to bring to the screen. But after a year, nothing had germinated until Welles met with writer Herman J. Mankiewicz, resulting in the Citizen Kane (1941) idea - early 1940. The story of a slightly veiled William Randolph Hearst with Welles as Kane and Cotten, in his Hollywood debut, as his college friend turned confidant and theater critic, Jed Leland, would become film history, but at the time it caused little more than a ripple. Hearst owned the majority of the country's press outlets and so forbade advertisements for the film. The film was nominated for nine Academy Awards in 1942 but was largely ignored by the Academy, only winning for Best Screenplay for Welles and Mankiewicz.

The following year Cotten and Welles collaborated again in La Splendeur des Amberson (1942), acclaimed but again ignored at Oscar time, and the next year's Nazi thriller Voyage au pays de la peur (1943). Cotten, along with some Welles ideas, wrote the screenplay. Welles with his notorious overrunning of budgeting was duly dropped by RKO thereafter. Later in 1943 Cotten's exposure and acquaintance with young producer David O. Selznick resulted in a movie contract and the launching of his mainstream and very successful movie career as a romantic leading man. Thereafter he appeared with some of the most leading of Hollywood leading ladies - a favorite being Jennifer Jones, Selznick's wife with the two of them being his most intimate friends. Cotten got the opportunity to play a good range of roles through the 1940s - the darkest being the blue beard-like killer in Alfred Hitchcock thriller L'ombre d'un doute (1943) with Teresa Wright. Perhaps the most fun was Ma femme est un grand homme (1947) with a vivacious Loretta Young. Cotten starred with Jennifer Jones in four films: the wartime domestic drama Depuis ton départ (1944), the romantic drama Le Poids d'un mensonge (1945), the western Duel au soleil (1946), and later in the critically acclaimed Le Portrait de Jennie (1948), from the haunting Robert Nathan book. Cotten is thoroughly convincing as a second-rate, unmotivated artist who finds inspiration from a chance acquaintance budding into love with an incarnation of a girl who died years before. Welles and Cotten did not work again until Le Troisième Homme (1949), directed by Carol Reed. For Cotten, the role as the hapless boyhood friend and second-rate novel writer Holly Martins would be a defining moment in a part both comedic and bittersweet, its range making it one of his best performances. Unfortunately, he was again overlooked for an Oscar.

Cotten was kept in relative demand into his mature acting years. Into the 1950s, he reunited with "Shadow Of A Doubt" co star Thereas Wright, to do the memorable bank caper "The Steel Trap"(1952).He co stared with Jean Peters in "Blueprint For A Murder"(1953). For the most part, the movie roles were becoming more B than A. He had a brief role as a member of the Roman Senate, reuniting with lifelong friend Welles in his Othello (1951). There were a few film-noir outings along with the usual fare of the older actor with fewer roles. However, he was much more successful in returning to theater roles in the new television playhouse format. He also did some episodic TV and some series ventures, as with On Trial, which was later called The Joseph Cotten Show. He had a memorable role in an Alfred Hitchcock Presents, "Breakdown", where he was a man in a lone and isolated car accident, trapped and unable to speak. He voices over and shows his great acting skill simply through facial expressions. His one last stint with Welles was uncredited and sort of Jed Leland-revisited as the hokey coroner early in Welles's over-the-top La Soif du mal (1958). Of his association with Welles, Cotten said: "Exasperating, yes. Sometimes eruptive, unreasonable, ferocious, yes. Eloquent, penetrating, exciting, and always - never failingly even at the sacrifice of accuracy and at times his own vanity - witty. Never, never, never dull."

With the passing of his first wife in 1960 Cotten met and married British actress Patricia Medina. The 1960s found him equally busy in TV and film. He made the circuit of the most popular detective and cowboy series of the period. By 1964 he returned to film with the money making old-Hollywood-dame- horror-movie genre hit Chut...chut...chère Charlotte (1964) with other vintage Hollywood legends Bette Davis, Olivia de Havilland, and Agnes Moorehead. His other films of that decade were of the quick entertainment variety along with some foreign productions, and TV movies. There were also more TV series and guests appearances, especially The Ed Sullivan Show, a popular stop during its long run. In the 1970s Cotten was still in demand-for even more of the curiosity-appeal of the populace for an older star. Along with the new assortment of TV series, he anchored himself at Universal with small parts in forgettable movies, the sluggish Universal epic dud Tora! Tora! Tora! for instance, and the steady diet of TV series being cranked out there. Though older actors have laughed in public about their descent into cheap horror movies, one can only wonder at the impetus to do them -- by such greats, as Claude Rains -- besides a can't-pass-up alluring salary.

Cotten did the campy L'Abominable Docteur Phibes (1971) with Vincent Price and about that time two second rate Italian horror outings where he was Baron Blood and Baron Frankenstein. Then again there was better exposure in the Metro-Goldwyn-Mayer minor sci-fi classic Soleil vert (1973). And in yet another Universal sequel, where the profit-logic was to gather a cast of veterans from the Hollywood spectrum in any situation spelling disaster and watch the ticket sales skyrocket, Cotten joined the all-star cast of Les Naufragés du 747 (1977). He rounded out the decade with the ever faddish Fantasy Island and more Universal TV rounds. This contributor met and worked with Joseph Cotten during this latter evolution of one of Hollywood's greats. He wore his own double-breasted blue blazer and tan slacks in several roles - no need for wardrobe. His pride and joy was a blue 1939 Jaguar SS, something of a fixture on the Universal lot.

Cotten was not ready to turn his back on Hollywood until the beginning of the 1980s when he managed to appear in the epic flop La Porte du paradis (1980). After a Love Boat episode (1981), Cotten joined his wife and his love of gardening and entertaining friends in retirement. He also had the time to write an engaging autobiography Vanity Will Get You Somewhere (1987). Cotten's somewhat matter-of-fact and seemingly gruff acting voice served him well. Certainly his command of varied roles deserved more than the snub of never being nominated for an Academy Award. He was not the only actor to suffer being underrated, but that is largely forgotten in those memorable roles that speak for him. And for what it is worth, the Europeans had the very good sense to award him the Venice Film Festival Award for Best Actor for Portrait of Jennie, one of his favorite roles.

Rotund comic character actor of American films. Born Andrew Vabre Devine in Flagstaff, Arizona, he was raised in nearby Kingman, Arizona, the son of an Irish-American hotel operator Thomas Devine and his wife Amy. Devine was an able athlete as a student and actually played semi-pro football under a phony name (Jeremiah Schwartz, often erroneously presumed to be his real name). Devine used the false name in order to remain eligible for college football. A successful football player at St. Mary & St. Benedict College, Arizona State Teacher's College, and Santa Clara University, Devine went to Hollywood with dreams of becoming an actor. After a number of small roles in silent films, he was given a good part in the talkie The Spirit of Notre Dame (1931) in part due to his fine record as a football player. His sound-film career seemed at risk due to his severely raspy voice, the result of a childhood injury. His voice, however, soon became his trademark, and he spent the next forty-five years becoming an increasingly popular and beloved comic figure in a wide variety of films. In the 1950s, his fame grew enormously with his co-starring role as Jingles P. Jones opposite Guy Madison's Adventures of Wild Bill Hickok (1951), on television and radio simultaneously. In 1955, before the Hickok series ended, Devine took over the hosting job on a children's show retitled Andy's Gang (1955), in which he gained new fans among the very young. He continued active in films until his death in 1977. He was survived by his wife and two sons.

John Hoyt was born on 5 October 1905 in Bronxville, New York, USA. He was an actor and writer, known for Le choc des mondes (1951), Spartacus (1960) and La révolte des poupées (1958). He was married to Dorothy Marion Oltman and Marion Virginia Burns. He died on 15 September 1991 in Santa Cruz, California, USA.

Otto Ludwig Preminger was born in Wiznitz, Bukovina, Austria-Hungary. His father was a prosecutor, and Otto originally intended to follow his father into a law career; however, he fell in love with the theater in his 20's and became one of the most imaginative stage producers and directors. He was only 24 when engaged by Max Reinhardt to take over his theatre where he produced all kids of plays. He directed his first film in 1931, and came to the US in 1936 to direct 'Libel' on the Broadway stage. He then moved to Hollywood where he signed with Fox becoming the first independent producer / director .He alternated between stage and film until the great success of Laura (1944) made him an A-list director in Hollyood.

For two decades after "Laura was released in 1944, Preminger ranked as one of the top directors in the world. His powers began to wane after Tempête à Washington (1962), and by the end of the decade, he was considered washed-up. However, such was the potency of his craftsmanship that he continued to direct major motion pictures into the 1970s, with Rosebud (1975) getting scathing reviews. His last directorial effort was La guerre des otages (1979), which won him respectful notices.

Otto Preminger died on April 23, 1986 in New York City from the effects of lung cancer and Alzheimer's disease. He was 80 years old.

Greta Garbo was born Greta Lovisa Gustafsson on September 18, 1905, in Stockholm, Sweden, to Anna Lovisa (Johansdotter), who worked at a jam factory, and Karl Alfred Gustafsson, a laborer. She was fourteen when her father died, which left the family destitute. Greta was forced to leave school and go to work in a department store. The store used her as a model in its newspaper ads. She had no film aspirations until she appeared in short advertising film at that same department store while she was still a teenager. Erik A. Petschler, a comedy director, saw the film and gave her a small part in his Luffar-Petter (1922). Encouraged by her own performance, she applied for and won a scholarship to a Swedish drama school. While there she appeared in at least one film, Le chevalier errant (1921). Both were small parts, but it was a start. Finally famed Swedish director Mauritz Stiller pulled her from the drama school for the lead role in La Légende de Gösta Berling (1924). At 18 Greta was on a roll.

Following La rue sans joie (1925) both Greta and Stiller were offered contracts with MGM, and her first film for the studio was the American-made Le torrent (1926), a silent film in which she didn't have to speak a word of English. After a few more films, including La tentatrice (1926), Anna Karenine (1927) and Intrigues (1928), Greta starred in Anna Christie (1930) (her first "talkie"), which not only gave her a powerful screen presence but also garnered her an Academy Award nomination as Best Actress (she didn't win). Later that year she filmed Romance (1930), which was somewhat of a letdown, but she bounced back in 1931, landing another lead role in Mata Hari (1931), which turned out to be a major hit.

Greta continued to give intense performances in whatever was handed her. The next year she was cast in what turned out to be yet another hit, Grand Hôtel (1932). However, it was in MGM's Anna Karénine (1935) that she gave what some consider the performance of her life. She was absolutely breathtaking in the role as a woman torn between two lovers and her son. Shortly afterwards, she starred in the historical drama La reine Christine (1933) playing the title character to great acclaim. She earned an Oscar nomination for her role in the romantic drama Le roman de Marguerite Gautier (1936), again playing the title character. Her career suffered a setback the following year in Marie Walewska (1937), which was a box office disaster. She later made a comeback when she starred in Ninotchka (1939), which showcased her comedic side. It wasn't until two years later she made what was to be her last film, La femme aux deux visages (1941), another comedy. But the film drew controversy and was condemned by the Catholic Church and other groups and was a box office failure, which left Garbo shaken.

After World War II Greta, by her own admission, felt that the world had changed perhaps forever and she retired, never again to face the camera. She would work for the rest of her life to perpetuate the Garbo mystique. Her films, she felt, had their proper place in history and would gain in value. She abandoned Hollywood and moved to New York City. She would jet-set with some of the world's best-known personalities such as Aristotle Onassis and others. She spent time gardening and raising flowers and vegetables. In 1954 Greta was given a special Oscar for past unforgettable performances. She even penned her biography in 1990.

On April 15, 1990, Greta died of natural causes in New York and with her went the "Garbo Mystique". She was 84.

A disarming character lady quite capable of scene-stealing, Mildred Natwick was a well-rounded talent with distinctively dowdy features and idiosyncratic tendencies who, over a six-decade period, assembled together a number of unforgettable matrons on stage and (eventually) film and TV. Whimsical, feisty, loony, stern, impish, shrewish, quizzical, scheming -- she greatly enhanced both comedies and dramas and, thankfully, her off-centered greatness was captured perfectly on occasion by such film directors as John Ford, Alfred Hitchcock and Neil Simon.

A short, plumpish, oval-eyed figure with a unique flowery, honey-glazed voice, Natwick was born on June 19, 1905 (some sources list 1908) to Joseph (a businessman) and and Mildred Marion Dawes Natwick. The Baltimore native graduated from both the Bryn Mawr School (in Baltimore) and also from Bennett College in Dutchess County, N.Y., where she majored in drama. Breaking into the professional field touring on stage, Miss Natwick joined the Vagabonds in the late 1920s, a non-professional group from Baltimore. She later became part of the renowned University Players at Cape Cod, Massachusetts, whose rising performers at the time included Henry Fonda, Margaret Sullavan and James Stewart.

Natwick made her Broadway bow in the 1932 melodrama "Carry Nation," directed by Blanche Yurka with Esther Dale in the title role. In the cast was Joshua Logan, whom she befriended and later collaborated with when he turned director. She then continued her momentum on 1930s Broadway with "Amourette" (1933), "Spring in Autumn" (1933), "The Wind and the Rain" (1934), "The Distaff Side" (1934) "End of Summer" (1936), "Love from a Stranger" (1936), "The Star-Wagon" (1937), "Missouri Legend" (1938), "Stars in Your Eyes" (1939) (directed by Logan), and "Christmas Eve" (1939).

Natwick did not come to films until middle age (35) with the John Ford classic Les Hommes de la mer (1940), in which she played a Cockney floozie. Despite her fine work in this minor part, she did not make another film until her landlady role five years later in Le Cottage enchanté (1945) supporting Dorothy McGuire and Robert Young. Not a great beauty by Hollywood standards, Natwick learned quickly in Hollywood that if she were to succeed, it would be as a character performer. Ford himself picked up on her versatility and used her repeatedly in several of his post-war classics -- Le fils du désert (1948), La charge héroïque (1949), and L'homme tranquille (1952).

Never abandoning the theater for long, Natwick excelled as Miss Garnett in George Bernard Shaw's "Candida" and as the buoyant medium in Noël Coward's "Blithe Spirit". As for the big screen, she was sporadically seen in such films as Yolanda et le voleur (1945), Un mariage à Boston (1947), Vengeance de femme (1948), Le brigand amoureux (1948), Treize à la douzaine (1950) and À l'abordage (1952). Making use of even the tiniest of roles, none of them did much to improve her stature in Hollywood. With her delicious turn, however, in Hitchcock's eccentric black comedy Mais qui a tué Harry? (1955), which starred Shirley MacLaine (in her film debut), John Forsythe, Kris Kringle's Edmund Gwenn, little Jerry Mathers (of "Leave It to Beaver"), and another famous Mildred, Mildred Dunnock, Natwick enjoyed one of her best roles ever on film. This was followed by her scheming and furtive sorceress in the Danny Kaye vehicle Le bouffon du roi (1955) in which she, Kaye and Glynis Johns participate in the memorable tongue-twisting "The pellet with the poison's in the vessel with the pestle..." comedy routine. This, in turn, led to a couple of more, albeit lesser, films, including L'enfant du divorce (1956) and Tammy and the Bachelor (1957).

Preferring the theatre to movies, MIldred received her first Tony nomination for her sharp, astute work in Jean Anouilh's "Waltz of the Toredors" in 1957 and recreated her character in a TV special. She seemed to move effortlessly from the classics ("Medea," "Coriolanus") to chic comedy ("Ladies in Retirement," "The Importance of Being Earnest"). Receiving great applause as the beleaguered, overly-winded mother in Neil Simon's "Barefoot in the Park" on Broadway in 1963, she transferred the role to film four years later. The cinematic Pieds nus dans le parc (1967) earned Mildred a well-deserved Oscar nomination for "best supporting actress". She switched things up again with Harold Pinter's theatrical "Landscape," and then again in 1971 when she made her debut in a singing role in the John Kander-Fred Ebb musical, "70, Girls, 70" (1971) in which she earned a second Tony nomination. Her last Broadway show came as a replacement in "Bedroom Farce" in 1979.

With only the slightest of gesture, look or tone of voice, Mildred's characters could speak volumes and she became an essential character player during the 1970s as an offbeat friend, relative or elderly on TV and film. She was awarded the Emmy for her playing of one of The Snoop Sisters (1972)_ alongside the equally delightful Helen Hayes in the short-lived TV series. Both played impish Jessica Fletcher-type mystery writers who solve real crimes on the sly. She also played Rock Hudson's quirky mother in McMillan & Wife (1971) and a notable dying grandmother in a guest appearance of the critically-lauded TV series drama Family (1976). Her final film came with a small regal role as Madame de Rosemonde in Les Liaisons dangereuses (1988) with Glenn Close, John Malkovich and Michelle Pfeiffer.

Never married, Mildred was called "Milly" by close friends and family and was the first cousin of Myron 'Grim' Natwick, the creator of Betty Boop for the Max Fleischer cartoon studio and prime animator for Disney's Snow White character. She died of cancer at age 89 in New York City.

Although Los Angeles native Howard McNear had a long career on radio and in films, he will forever be remembered for his memorable - and scene-stealing - portrayal of Floyd the Barber in the long-running The Andy Griffith Show (1960) (actor Don Knotts once said that playing Floyd wasn't much of a stretch for McNear, as his real personality was pretty much like Floyd to begin with). McNear started his career in radio, where he played Doc Adams in "Gunsmoke" for many years. In films he often played congressmen, hotel managers or other such figures, although he did on occasion play villains. While working on the "Andy Griffith Show" he suffered a massive stroke. After he recuperated he had trouble using his arms and legs, and when he returned to work on the show he was always seen either in a close-up or sitting down (often in a chair outside the barber shop while chatting with Barney and Andy). He died in 1969 in Hollywood.

The son of Thomas William Powell and Mabel (nee Corbett). Michael Powell was always a self-confessed movie addict. He was brought up partly in Canterbury ("The Garden of England") and partly in the south of France (where his parents ran a hotel). Educated at Kings School, Canterbury and Dulwich College, he worked at the National Provincial Bank from 1922-25. In 1925 he joined Rex Ingram making Mare Nostrum (1926). He learned his craft by working at various jobs in the (then) thriving English studios of Denham and Pinewood, working his way up to director on a series of "quota quickies" (short films made to fulfill quota/tariff agreements between Britain and America in between the wars). Very rarely for the times, he had a true "world view" and, although in the mold of a classic English "gentleman", he was always a citizen of the world. It was therefore very fitting that he should team up with an émigré Hungarian Jew, Emeric Pressburger, who understood the English better than they did themselves. Between them, under the banner of "The Archers", they shared joint credits for an important series of films through the 1940s and '50s. Powell went on to make the controversial Le voyeur (1960), a film so vilified by critics and officials alike that he didn't work in England for a very long time. He was "re-discovered" in the late 1960s and Francis Ford Coppola and Martin Scorsese tried to set up joint projects with him.

In 1980 he lectured at Dartmouth College, New Hampshire. He was Senior Director in Residence at Coppola's Zoetrope Studios in 1981, and in fact married Scorsese's longtime editor Thelma Schoonmaker. He died of cancer in his beloved England in 1990.

Eleanor Audley was an American actress, with a distinctive voice that helped her find work as a voice actress in radio and animation. She is primarily remembered as the first actress to voice Lady Tremaine and Maleficent, two of the most memorable Disney villains.

Audley's real name was Eleanor Zellman, and she was from New York City. She was Jewish, but little is known about her family background and she apparently never married.

She made her acting debut in 1926, aged 20, at the Broadway production of "Howdy, King". She remained primarily a theatrical actress through the 1920s and the 1930s. During the 1940s, Audley started playing a number of prominent roles in radio serials. Among them was mother-in-law Leticia Cooper in "My Favorite Husband" (1948-51), receptionist Molly Byrd in "The Story of Dr. Kildare" (1949-51), and neighbor, Elizabeth Smith in "Father Knows Best" (1949-54).

Audley was hired by Disney to play the role of wealthy widow Lady Tremaine in the animated feature film "Cinderella" (1950). Audley was also used as the live-action model of the character, and her facial features were used by the animators who designed the character. In the film, Lady Tremaine is depicted as the abusive stepmother of Cinderella (voiced by Ilene Woods) and the domineering mother of Anastasia Tremaine (voiced by Lucille Bliss) and Drizella Tremaine (voiced by Rhoda Williams). The film was a box office hit, and its profits helped rescue the Disney studio from a financial decline that had lasted for almost a decade.

For the rest of the decade, Audley appeared regularly in supporting roles in film, and guest roles in television. She returned to animation when hired to voice the evil fairy Maleficent in "Sleeping Beauty" (1959). As before, Audley was also used as a live-action model for the character. During the film's production, Audley was struggling with tuberculosis. While nominally the villain, Maleficent received more screen-time in the finished film than titular protagonist Princess Aurora (voiced by singer Mary Costa).

"Sleeping Beauty" had box office receipts of more than $51 million in the U.S. and Canada, against a budget of $6 million. It finished the year second in ticket sales, behind the number one film, "Ben-Hur." Audley was not invited to voice other villains. The film earned critical and popular acclaim through later re-releases, and Maleficent has been revived many times by Disney. But never with her original voice actress.

In the 1960s, Audley played supporting roles in then-popular television series. Among her most prominent roles were Irma Lumpkin in "The Many Loves of Dobie Gillis", Peggy Billings in "The Dick Van Dyke Show", Millicent Schuyler-Potts in "The Beverly Hillbillies" , Aunt Martha in "Mister Ed", Jenny Teasley in "Pistols 'n' Petticoats", Eunice Douglas in "Green Acres", and Beatrice Vincent in "My Three Sons".

Audley worked with Disney again to voice psychic medium Madame Leota in the Haunted Mansion attractions in Disneyland and Walt Disney World. Leota is depicted as a ghost who communicates with the living, and other actresses have since voiced the character.

Her long career ended prematurely in the 1970s, due to increasingly poor health. She lived in retirement until her death in 1991, at the age of 86. The cause of death was respiratory failure. Audley was interred at the Mount Sinai Memorial Park Cemetery in Los Angeles. Her character of Madame Leota received its own tombstone in 2001. The epitaph reads: "Dear sweet Leota, beloved by all. In regions beyond now, but having a ball."

One of the great stars of American Westerns, and a very popular leading man in non-Westerns as well. He was born and raised in the surroundings of Hollywood and as a boy became interested in the movies that were being made all around. He studied acting at Pomona College and got some stage experience at the Pasadena Community Playhouse, where other future stars such as Randolph Scott, Robert Young, and Victor Mature would also get their first experience. He worked as an extra after graduation from the University of Southern California in 1928 and did some stunt work. In a rare case of an extra being chosen from the crowd to play a major role, McCrea was given a part in The Jazz Age. A contract at MGM followed, and then a better contract at RKO. Will Rogers took a liking to the young man (they shared a love of ranching and roping) and did much to elevate McCrea's career. His wholesome good looks and quiet manner were soon in demand, primarily in romantic dramas and comedies, and he became an increasingly popular leading man. He hoped to concentrate on Westerns, but several years passed before he could convince the studio heads to cast him in one. When he proved successful in that genre, more and more Westerns came his way. But he continued to make a mark in other kinds of pictures, and proved himself particularly adept at the light comedy of Preston Sturges, for whom he made several films. By the late Forties, his concentration focused on Westerns, and he made few non-Westerns thereafter. He was immensely popular in them, and most of them still hold up well today. He and Randolph Scott, whose career strongly resembles McCrea's, came out of retirement to make a classic of the genre, Sam Peckinpah's Coups de feu dans la Sierra (1962). Scott stayed retired thereafter; McCrea made a couple of appearances in small films afterwards, but was primarily content to maintain his life as a gentleman rancher. He was married for fifty-seven years to actress Frances Dee, who survived him.

Luis Antonio Damaso de Alonso, later known as Gilbert Roland, was born in 1905 in Mexico. Following his parents to the USA, he did not become the bullfighter he had dreamed of being but became an actor instead. His Mexican roots, his half macho half romantic ways, his handsome virile figure helped him land roles in movies from the early twenties to 1982. A long and varied career in which Roland was in turns an extra, a matinée idol (Armand Duval in Camille (1926)), a Latin Lover, a star of English-speaking films made in Hollywood in the early 1930s, a Mexican bandit in B-Movies, The Cisco Kid in a series of six popular Westerns, a brilliant character in major A movies (John Huston's Les insurgés (1949), Vincente Minnelli's Les ensorcelés (1952); Anthony Mann's Le port des passions (1953), John Ford's Les Cheyennes (1964)), a sinister character in Spaghetti Westerns... When he retired in 1982, twelve years before he died, he could be satisfied. His career had spanned six decades, the coming of sound had not ended it, he had played in all kinds of movies, he had held the most beautiful women in his arms, and maybe the most important thing, he had been given the opportunity to show his acting talents. Not every actor can boast such a life achievement.

Robert Newton was one of the great character actors -- and great characters -- of the British cinema, best remembered today for playing Long John Silver in L'ile au trésor (1950) and its sequel in 1954. His portrayal of Long John Silver and of Barbe-Noire le pirate (1952) created a persona that was so indelible that his vocal intonations created the paradigm for scores of people who want to "Talk Like a Pirate." The performance overshadows Newton's legacy, which is based on many first-rate performances in such movies as Heureux mortels (1944), Huit heures de sursis (1947) and Oliver Twist (1948), where his Bill Sykes is truly chilling. Oliver Reed, who played Sykes in the Oscar-winning movie musical Oliver! (1968) was influenced by Newton.

Legendary Australian-born character actress of the British screen, Miss Cannon was without doubt one of the best scene-stealing actresses.

Her pixie-like looks and extraordinary facial expressions made her a true favourite of many a British movie.

Without her appearances in many a 'Carry On' film in the 1960s, her career would have probably been forgotten today. Arguably, her most famous performance was as the lonely but happy spinster in La folle croisière (1962). The bar scene with Dilys Laye where both of their characters get hideously drunk, is as legendary as the movie itself.

Though primarily a stage actor, Sebastian Shaw appeared in some forty film and television productions from 1930 to 1991. Born in Holt, Norfolk, England, he first appeared on stage as a child in 1913, graduating to lead roles by the late 1920s. It was in 1930 that he made his first film appearance in Caste (1930). His most notable film roles of this period were as an aspiring actor opposite Miriam Hopkins and Rex Harrison in the Alexander Korda-produced Les Hommes ne sont pas des dieux (1936); as a crime suspect in another Korda production, Le receleur (1937); and opposite Conrad Veidt and Valerie Hobson in Michael Powell's L'Espion noir (1939). His later films included Roy Boulting's documentary-style La grande aventure (1945), La montagne de verre (1949) (in which he played an eccentric Scottish lyricist), and Laxdale Hall (1953).

In the 1960s, he appeared in Kevin Brownlow and Andrew Mollo's imaginative En Angleterre occupée (1964), made in semi-documentary style showing Britons coping during a Nazi persecution. Mostly stage and television work followed (including an appearance as a judge in Rumpole of the Bailey (1978)). In 1982, Shaw was approached by George Lucas to make an appearance in the final episode of his Star Wars films, Le Retour du Jedi (1983). The role was the small but crucial one at the film's climax of the unmasked Darth Vader (Anakin Skywalker) and in the final scene as Anakin's ghost. The role has since made him a cult figure all over the world. Much of Shaw's remaining career was spent playing distinguished elderly gent roles, such as cold war spy-cum-art critic Basil Sharpe in Soleil grec (1987). Shaw continued to act on stage, film and television well into his eighties. Sebastian Shaw died at age 89 of natural causes on December 23, 1994.

Japanese character actor Takashi Shimura was one of the finest film actors of the 20th century and a leading member of the "stock company" of master director Akira Kurosawa. A native of southern Japan, Shimura was a descendant of the samurai warrior class. Following university training, he founded a theatre company, Shichigatsu-za ("July Theatre"). In 1930 he joined a professional company, Kindai-za ("Modern Theatre"). Four years later he signed with the Kinema Shinko film studio. He found a niche playing samurai roles for various studios, then signed a long-term contract with Toho Studios in 1943. He appeared in an average of six films a year for Toho over the next four decades. His greatest critical acclaim came in more than 20 roles for Kurosawa, though he is almost as well recognized outside Japan for his kindly doctor role in the original "Godzilla" (Godzilla (1954)). Shimura's triumph was his unforgettable performance as a dying bureaucrat in Kurosawa's Vivre (1952). He continued to act steadily, in good films and bad, almost until his death, culminating with Kurosawa's Kagemusha, l'ombre du guerrier (1980). He is often described as filling the spot for Kurosawa that Ward Bond filled for John Ford--an ever-present and reliable character player who consistently supplied a solidity and strength to whatever film he appeared in. Shimura was definitely a finer actor than Bond, of the most versatile "chameleons" in the world cinema, a great artist with enormous range in sublime interpretations, from Vivre (1952)'s diffident clerk to the leader of the Seven Samurai in Kurosawa's Les 7 Samouraïs (1954). He died in 1982, a reluctant icon of Japanese cinema.

Henry Koster was born Herman Kosterlitz in Berlin, Germany, on May 1, 1905. His maternal grandfather was a famous operatic tenor Julius Salomon (who died of tuberculosis in the 1880s). His father was a salesman of ladies unmentionables who left the family while Henry was at a young age, leaving him to support the family. He still managed to finish gymnasium (high school) in Berlin while working as a short-story writer and cartoonist. He was introduced to movies in 1910 when his uncle Richard opened a movie theater in Berlin and his mother went there every day to play the piano to accompany the films. Henry went with her--day care being nonexistent then--and had to sit for a couple of hours a day staring at the movie screen.

He achieved success as a short-story writer at age 17, resulting in his being hired by a Berlin movie company as a scenarist. He became an assistant to director Curtis Bernhardt. Bernhardt fell sick one day and asked Henry to direct (this was around 1931 or 1932). He had directed two films in Berlin for Aafa when Adolf Hitler came to power. He was in the midst of directing Das häßliche Mädchen (1933) at that point, and having already been the victim of anti-Semitism, he knew he had to leave Germany, and soon. Any doubts he entertained about leaving were erased when, at a bank on his lunch hour one day, a Nazi SA officer insulted him; Henry hit the Nazi so hard he knocked him out. He proceeded to go directly to the railroad station and took a train for France. Upon arriving in France he was rehired by Bernhardt (who had left earlier). Eventually Henry went to Budapest and met and married Kató Király (1934). It was there he met producer Joe Pasternak, who represented Universal Pictures in Europe, and directed four films for him.

In 1936 he was signed to a contract with Universal and brought to Hollywood with Pasternak, several other refugees and his wife. At first he had some troubles at the studio (he didn't speak English), but eventually convinced Universal to let him make Trois jeunes filles à la page (1936) with Deanna Durbin and coached Durbin, who was 14 years old. The picture was a huge success and pulled Universal from the verge of bankruptcy. His second film, Deanna et ses boys (1937) with Durbin and Leopold Stokowski, put Universal, Durbin, Pasternak and himself on top. He went on to do numerous musicals and family comedies during the late 1930s and early 1940s, many with Betty Grable, Durbin and other musical stars of the era. He stayed at Universal until 1941, then worked for MGM, and around 1948 moved over to 20th Century-Fox. He was nominated for an Academy Award for Honni soit qui mal y pense (1947).

In 1950 he directed what was his biggest success to date--the James Stewart comedy Harvey (1950), but, although many in the industry thought it would be nominated for Best Picture, it wasn't. He directed the first American film in which Richard Burton appeared, Ma cousine Rachel (1952), then was assigned by Fox to direct its first CinemaScope picture, La tunique (1953), also with Burton, which was a tremendous success. He directed a few more costume dramas, such as Désirée (1954) with Marlon Brando, then went back to family comedies and musicals, such as Au rythme des tambours fleuris (1961) for Universal. After he finished Dominique (1966) he retired from the film business to Leisure Village, Camarillo, CA, to indulge his lifelong interest in painting. He did a series of portraits of the movie stars with whom he worked.

William Gargan was an American actor, better known for playing fictional detectives Ellery Queen, Martin Kane, and Barrie Craig. He was once nominated for the Academy Award for Best Supporting Actor.

Gargan was born and raised in Brooklyn, New York City. He attended St. James School in Brooklyn. While he was the younger brother of actor Edward Gargan (1902-1964), Gargan was not initially interested in an acting career. He worked as a salesman of bootleg whiskey during the Prohibition, and later as a professional detective. His life changed through a visit to his brother on a musical comedy stage/ Gargan was offered a stage job of his own, and he accepted.

Gargan started out as a theatrical actor, appearing in the play "Aloma of the South Seas". His film career started in the 1930s, and he was often typecast as as a stereotypical Irishman. He played policemen, priests, reporters, and adventurers. He was nominated for the Academy Award for Best Supporting Actor for his role as Joe in the romantic drama "They Knew What They Wanted" (1940). The film was an adaptation of a 1924 play by Sidney Howard (1891-1939), and Joe was depicted as a womanizing foreman who has an affair with a woman engaged to one of his workers. While Gargan's role was critically well-received, the award was instead won by rival actor Walter Brennan (1894-1974).

In the 1940s, Gargan portrayed popular detective Ellery Queen in three films: "A Close Call for Ellery Queen" (1942), "A Desperate Chance for Ellery Queen" (1942), and "Enemy Agents Meet Ellery Queen" (1942). "Enemy Agents" was the final entry in the Ellery Queen film series. Gargan spend the rest of the decade mostly playing supporting roles in film.

Gargan found another major role as a detective, playing protagonist Martin Kane in the radio series "Martin Kane, Private Eye".(1949-1952). He also appeared in the television adaptation of the series, which lasted from 1949 to 1954. While he was the originator of the role, Gargan was eventually replaced by actor Lloyd Nolan (1902-1985). Nolan was eventually replaced by actor Lee Tracy (1898-1968). The final actor to portray Martin Kane in the original series was Mark Stevens (1916-1994). Gargan returned to the role in the sequel series "The New Adventures of Martin Kane" (1957).

Gargan also played detective Barrie Craig in the popular radio series "Barrie Craig, Confidential Investigator" (1951-1955). Unlike the hard-boiled detectives of the genre (popularized by Sam Spade and Philip Marlowe), Craig was noted for his laid-back personality. The series was suggested for adaptation to a television series, but only an unsuccessful pilot episode was filmed.

Gargan's acting career ended abruptly in 1958, when he was diagnosed with throat cancer. His larynx was surgically removed in 1960. This saved his life, but Gargan lost his distinctive voice. He spend the rest of his life speaking through an artificial voice box. He became a spokesman for the American Cancer Society, warning people about the dangers of smoking. Meanwhile he established his own production company, William Gargan Productions.

In 1979, Gargan suffered a mid-flight heart attack, while flying from New York City to San Diego. He died due to the heart attack, at the age of 73. He was buried at Holy Cross Cemetery in San Diego, California.