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Richard St John Harris was born on October 1, 1930 in Limerick, Ireland, to a farming family, one of nine children born to Mildred (Harty) and Ivan Harris. He attended Crescent College, a Jesuit school, and was an excellent rugby player, with a strong passion for literature. Unfortunately, a bout of tuberculosis as a teenager ended his aspirations to a rugby career, but he became fascinated with the theater and skipped a local dance one night to attend a performance of "Henry IV". He was hooked and went on to learn his craft at the London Academy of Music and Dramatic Art (LAMDA), then spent several years in stage productions. He debuted on screen in L'épopée dans l'ombre (1959) and quickly scored regular work in films, including Cargaison dangereuse (1959), Les Combattants de la nuit (1960) and a good role as a frustrated Australian bomber pilot in Les Canons de Navarone (1961).

However, his breakthrough performance was as the quintessential "angry young man" in the sensational drama Le prix d'un homme (1963), which scored him an Oscar nomination. He then appeared in the WW II commando tale Les héros de Télémark (1965) and in the Sam Peckinpah-directed western Major Dundee (1965). He next showed up in Hawaï (1966) and played King Arthur in Camelot (1967), a lackluster adaptation of the famous Broadway play. Better performances followed, among them a role as a reluctant police informer in Traître sur commande (1970) alongside Sir Sean Connery. Harris took the lead role in the violent western Un homme nommé Cheval (1970), which became something of a cult film and spawned two sequels. As the 1970s progressed, Harris continued to appear regularly on screen; however, the quality of the scripts varied from above average to woeful.

His credits during this period included directing himself as an aging soccer player in Bloomfield (1970); the western Le shérif ne pardonne pas (1973); the big-budget "disaster" film Terreur sur le Britannic (1974); the strangely-titled crime film Refroidi à 99% (1974); with Connery again in La rose et la flèche (1976); Gulliver's Travels (1977); a part in the Les Dents de la mer (1975); Orca (1977) and a nice turn as an ill-fated mercenary with Richard Burton and Roger Moore in the popular action film Les oies sauvages (1978).

The 1980s kicked off with Harris appearing in the silly Bo Derek vanity production Tarzan l'homme singe (1981) and the remainder of the decade had him appearing in some very forgettable productions. However, the luck of the Irish was once again to shine on Harris's career and he scored rave reviews (and another Oscar nomination) for The Field (1990). He then locked horns with Harrison Ford as an IRA sympathizer in Jeux de guerre (1992) and got one of his best roles as gunfighter English Bob in the Clint Eastwood western Impitoyable (1992). Harris was firmly back in vogue and rewarded his fans with more wonderful performances in Deux drôles d'oiseaux (1993); Pleure ô pays bien-aimé (1995); The Great Kandinsky (1995) and This Is the Sea (1997). Further fortune came his way with a strong performance in the blockbuster Gladiator (2000) and he became known to an entirely new generation of film fans as Albus Dumbledore in the mega-successful Harry Potter à l'école des sorciers (2001) and Harry Potter et la Chambre des secrets (2002). His final screen role was as "Lucius Sulla" in Jules César (2002).

Harris died of Hodgkin's disease, also known as Hodgkin's lymphoma, in London on October 25, 2002, aged 72.

Lanky, charismatic and versatile actor with an amazing grin that put everyone at ease, James Coburn studied acting at UCLA, and then moved to New York to study under noted acting coach Stella Adler. After being noticed in several stage productions, Coburn appeared in a handful of minor westerns before being cast as the knife-throwing, quick-shooting Britt in the John Sturges mega-hit Les 7 mercenaires (1960). Sturges remembered Coburn's talents when he cast his next major film project, La Grande Évasion (1963), where Coburn played the Australian POW Sedgwick. Regular work now came thick and fast for Coburn, including appearing in Major Dundee (1965), the first of several films he appeared in directed by Hollywood enfant terrible Sam Peckinpah.

Coburn was then cast, and gave an especially fine performance as Lt. Commander Paul Cummings in Arthur Hiller's The Americanization of Emily, where he demonstrated a flair for writer Paddy Chayefsky's subtle, ironic comedy that would define his performances for the rest of his career.

The next two years were a key period for Coburn, with his performances in the wonderful 007 spy spoof Notre homme Flint (1966) and the eerie Un truand (1966). Coburn followed up in 1967 with a Flint sequel, F comme Flint (1967), and the much underrated political satire La folle mission du docteur Schaeffer (1967). The remainder of the 1960s was rather uneventful for Coburn. However, he became associated with martial arts legend Bruce Lee and the two trained together, traveled extensively and even visited India scouting locations for a proposed film project, but Lee's untimely death (Coburn, along with Steve McQueen, was a pallbearer at Lee's funeral) put an end to that.

The 1970s saw Coburn appearing again in several strong roles, starting off in Peckinpah's Pat Garrett et Billy le Kid (1973), alongside Charles Bronson in the Depression-era Le Bagarreur (1975) and as a disenchanted German soldier on the Russian front in Peckinpah's superb Croix de fer (1977). Towards the end of the decade, however, Coburn was diagnosed with rheumatoid arthritis, which severely hampered his health and work output for many years. After conventional treatments failed, Coburn turned to a holistic therapist, and through a restructured diet program, made a definite improvement. By the 1990s he was once again appearing regularly in both film and TV productions.

No one was probably more surprised than Coburn himself when he was both nominated for, and then won, the Best Supporting Actor Award in 1997 for playing Nick Nolte's abusive and alcoholic father in Affliction (1997). At 70 years of age, Coburn's career received another shot in the arm, and he appeared in another 14 films, including Chiens des neiges (2002) and The Man from Elysian Fields (2001), before his death from a heart attack in November of 2002. Coburn's passions in life included martial arts, card-playing and enjoying Cuban cigars (which may have contributed to his fatal heart attack).

Originally planning to become a lawyer, Billy Wilder abandoned that career in favor of working as a reporter for a Viennese newspaper, using this experience to move to Berlin, where he worked for the city's largest tabloid. He broke into films as a screenwriter in 1929 and wrote scripts for many German films until Adolf Hitler came to power in 1933. Wilder immediately realized his Jewish ancestry would cause problems, so he emigrated to Paris, then the US. Although he spoke no English when he arrived in Hollywood, Wilder was a fast learner and thanks to contacts such as Peter Lorre (with whom he shared an apartment), he was able to break into American films. His partnership with Charles Brackett started in 1938 and the team was responsible for writing some of Hollywood's classic comedies, including Ninotchka (1939) and Boule de feu (1941). The partnership expanded into a producer-director one in 1942, with Brackett producing and the two turned out such classics as Les cinq secrets du désert (1943), Le Poison (1945) (Oscars for Best Picture, Director and Screenplay) and Boulevard du Crépuscule (1950) (Oscars for Best Screenplay), after which the partnership dissolved. (Wilder had already made one film, Assurance sur la mort (1944) without Brackett, as the latter had refused to work on a film he felt dealt with such disreputable characters.) Wilder's subsequent self-produced films would become more caustic and cynical, notably Le gouffre aux chimères (1951), though he also produced such sublime comedies as Certains l'aiment chaud (1959) and La garçonnière (1960) (which won him Best Picture and Director Oscars). He retired in 1981.

Rodney Stephen Steiger was born in Westhampton, New York, to Augusta Amelia (Driver) and Frederick Jacob Steiger, both vaudevillians. He was of German and Austrian ancestry. After his parents' divorce, Steiger was raised by his mother in Newark, New Jersey. He dropped out of Westside High school at age 16 and joined the Navy. He saw action in the Pacific on a destroyer. Steiger returned to New Jersey after the war and worked for the VA. He was part of an amateur acting group, and then joined the Actors' Studio using his GI Bill benefits.

Steiger received his first film roles in the early 1950s. His first major one was in Térésa (1951), but his first lead role was in the TV version of Marty (1953). The movie version, however, had Ernest Borgnine in the lead and won him an Academy Award. Steiger's breakthrough role came in 1954, with the classic Sur les quais... (1954). Since then he has been a presence on the screen as everything from a popular leading man to a little-known character actor. Steiger made a name for himself in many different types of roles, from a crooked promoter in Plus dure sera la chute (1956) to the title character in Al Capone (1959). He was one of dozens of stars in the epic World War II film Le Jour le plus long (1962). In 1964, he received his second Oscar nomination for Le prêteur sur gages (1964). The next couple of years he was at the height of his powers. In 1965, he starred in the dark comedy Le cher disparu (1965), and in David Lean's epic Le docteur Jivago (1965). In 1966, he starred in the BBC Play of the Month (1965) episode "Death of a Salesman" as Willy Loman in the TV version of his stage play "Death of a Salesman," but in 1967, he landed what many consider his greatest role: Sheriff Bill Gillespie in Dans la chaleur de la nuit (1967), opposite Sidney Poitier. Steiger deservedly took home the Best Actor Oscar for his work in that film.

He took another controversial role as a man with many tattoos in L'homme tatoué (1969) and as a serial killer in the classic Le Refroidisseur de dames (1968). After that, he seemed to have withdrawn from high-profile movies and became more selective in the roles he chose. He turned down the lead in Patton (1970) and also in Le Parrain (1972). Among his more notable roles in the 1970s are Happy Birthday, Wanda June (1971), Une fille nommée Lolly Madonna (1973), as Benito Mussolini in Les derniers jours de Mussolini (1974), Les Hommes de main (1979), Jésus de Nazareth (1977), F.I.S.T (1978) and Amityville : La Maison du diable (1979). He starred in the critically acclaimed L'élu (1981) with Robby Benson and Maximilian Schell, perhaps the highlight of his 1980s movie career. Steiger increasingly moved away from the big Hollywood pictures, instead taking roles in foreign productions and independent movies. As the 1980s ended, Steiger landed a role as the buttoned-up New York City Chief of Police in Calendrier meurtrier (1989).

Steiger was seriously affected by depression for 8 years. As he returned to the screen in the late 1990s he began creating some of his most memorable roles. He was the doctor in the independently-made movie Shiloh (1996), about an abused dog. He was the crazed, kill-'em-all army general in Mars Attacks! (1996) who always called his enemies peace-mongers. He took a small part as a Supreme Court judge in Hurricane Carter (1999) and as a preacher in the badly produced film La Fin des temps (1999). He was still active in films moving into the new millennium.

Robert Urich grew up in Toronto, Ohio, one of four siblings of Slovak and Rusyn descent, raised Catholic by their parents, John P. Urich (died 1977) and Cecelia (née Halpate) Urich (died 2002). His athletic ability led to a four-year football scholarship at Florida State University (FSU). He earned his Bachelor's degree in Radio and Television Communications from Florida State University in 1968 and his Master's degree in Broadcast Research and Management from Michigan State University in 1971. He joined WGN radio in Chicago as a sales account representative. He then briefly appeared as a TV weatherman, and soon realized he wanted to become an actor.

Urich's big break came in 1972 when he played Burt Reynolds's younger brother in a stage production of "The Rainmaker". Reynolds and Urich were both alumni of FSU. Reynolds brought him to California and let him stay in his home until he got his acting break. He also recommended Urich to producer Aaron Spelling for the TV series Section 4 (1975). Although that series lasted only one season, Spelling remembered Urich and later cast him in Vegas (1978), which had a longer run.

He was starring in the TV series The Lazarus Man (1996) when he was diagnosed with cancer, which caused the cancellation of the series. The cancer went into remission after treatment and he resumed acting again with his role as Captain Jim Kennedy III on La croisière s'amuse, nouvelle vague (1998). The cancer would claim Urich's life on April 16, 2002 at the age of 55, survived by his wife, children, siblings, mother (who died later that same year, on October 5, 2002, aged 90) and large extended family.

Dudley Moore, the gifted comedian who had at least three distinct career phases that brought him great acclaim and success, actually started out as a musical prodigy as a child. Moore -- born in Dagenham, Essex, England to working class parents in 1935 -- won a music scholarship to Magdalen College, Oxford, to study the organ. At university, he also studied composition and became a classically trained pianist, though his forte on the piano for public performance was jazz. After graduating from Magdalen College in 1958, Moore was offered a position as organist at King's College, Cambridge, but turned it down in order to go to London and pursue a music and acting career. Fellow Oxonian Alan Bennett (Exter Colelge, B.A., Medieval History, 1957) had already recommended him to John Bassett, who was putting together a satirical comedy revue called "Beyond the Fringe". "Beyond the Fringe" was to be Moore's first brush with fame, along with co-stars Bennett, future theatrical director Jonathan Miller (now Sir Jonathan, who studied Medicine at Cambridge and was a physician), and Peter Cook, who was destined to become Moore's comic partner during the 1960s and '70s.

It was Miller who had recommended Cook for "Beyond the Fringe", in much the same way that Bennett had bird-dogged Moore. Cook, who had studied modern languages at Cambridge, had been part of the famous Cambridge theatrical, the Footlights revue in 1959, had subsequently gone to London to star in a West End revue for Kenneth Williams, "Pieces of Eight". This old-fashioned review was such a success there was a sequel, "One Over the Eight". He was advised by his agent not to star in the Fringe with the three others as he was a professional, whereas they were amateurs. Ironically, the great success of "Beyond the Fringe", which was a new kind of satirical comedy, would doom the very old-fashioned reviews that Cook had just tasted success in. "Beyond the Fringe" not only won great acclaim in the UK, but it was a hit in the U.S.. The four won a special Tony Award in 1963 for their Broadway production of "Beyond the Fringe" and there was a television program made of the revue in 1964.

Moore and Cook were offered the TV show Not Only... But Also (1965) by the BBC in 1965. Peter Cook was on as a guest. Their pairing was so successful, it enjoyed a second season in 1966 and a third in 1970. They were particularly funny as the working-class characters "Pete" and "Dud". The duo then broke into the movies, including Un mort en pleine forme (1966) and Fantasmes (1967). In 1974, the duo won their second Tony Award for their show "Good Night", which was the stage version of their TV series "Not Only... But Also".

In the mid- to late 1970s, they issued three comic albums in the guise of the characters "Derek" and "Clive" (Moore and Cook, respectively), two lavatory attendants that many viewed as reincarnations of their earlier TV characters "Pete" and "Dud". The albums, ad-libbed in a recording studio while the two drank vast quantities of alcohol, were noted at the time for their obscenity. Their typical routine was a stream-of-consciousness fugue by Cook, interspersed with interjections by Moore. With their obscenity-laden, free-formed riffs, Derke and Clive presaged the more free-wheeling shock comedy of the 1980s and '90s.

They subsequently split up as Moore could no longer tolerate Cook's alcoholism. Under the influence, Cook would become abusive towards Moore, whose acting career was undergoing a renaissance in the late '70s while his career has stalled. Ironically, it was playing an alcoholic that brought Moore to the summit of his success as an actor.

After marrying American actress Tuesday Weld in 1975, Moore moved to the U.S. and began a second career as a solo screen comedian, stealing the show from Chevy Chase and Goldie Hawn as the horny conductor in the movie comedy, Drôle d'embrouille (1978). When George Segal dropped out of the movie Elle (1979), director Blake Edwards cast Moore in the lead role as the composer undergoing a mid-life crisis. It was a huge hit, but was surpassed by his Oscar-nominated turn as the dipsomaniac billionaire in Arthur (1981). In the early 1980s, Moore was a top box office attraction. In 1983, the National Alliance of Theater Owners named him the Top Box Office Star-Male of the Year.

His career began petering out after he turned down the lead in Splash (1984), a role that helped establish Tom Hanks as a top movie comedian and position him for his transition into movie drama and super-stardom. As Hanks star waxed, Moore's star waned, and by 1985 he was reduced to playing an elf in Santa Claus (1985), one of the all time turkeys. Even a second turn as "Arthur" in Arthur 2: Dans la dèche (1988) couldn't revive his box office, the dependent clause of the title all too well describing his career. His TV series Dudley (1993) was a bust, and the 1990s proved a wasteland for the once-honored and prosperous comedian.

Moore was deeply affected by the January 1995 death of Peter Cook by a gastrointestinal hemorrhage at the age of 57. Moore organized a two-day memorial to Cook in Los Angeles that was held in November 1995. Less than four years later, in September 1999, Moore announced that he was afflicted with progressive supra-nuclear palsy, a disease for which there is no treatment.

Dudley Moore was invested as a Commander of the Order of The British Empire (one step below knighthood) in June 2001. Moore personally attended the ceremony at Buckingham Palace to accept his CBE from Prince Charles, the Prince of Wales (later King Charles III), despite being unable to speak and being wheelchair-bound. He died in Watchung, New Jersey on March 27, 2002, a month shy of his 67th birthday, from the pneumonia related to progressive supra-nuclear palsy.

Dudley Moore was married four times, to actresses Suzy Kendall, Tuesday Weld, Brogan Lane and Nicole Rothschild, and had two sons, one with Tuesday Weld and one with Nicole Rothschild.

Legendary Hollywood "tough guy", on screen and off. Remembered as the title character in Dillinger, l'ennemi public n°1 (1945) and as the consummately brutal lover of Claire Trevor in Né pour tuer (1947). Notorious for his frequent, well-publicized barroom brawls and the like, including being stabbed in 1973. In his later years, he continued as a screen actor projecting the hard-as-nails mien that has been ingrained since his younger days, as evidenced in Quentin Tarantino's Reservoir Dogs (1992).

Milton Berle was an American comedian and actor.

Berle's career as an entertainer spanned over 80 years, first in silent films and on stage as a child actor, then in radio, movies and television. As the host of NBC's Texaco Star Theatre (1948-55), he was the first major American television star and was known to millions of viewers as "Uncle Miltie" and "Mr. Television" during the first Golden Age of Television. He was honored with two stars on the Hollywood Walk of Fame for his work in both radio and TV.

Berle won the Emmy for Most Outstanding Kinescoped Personality in 1950. In 1979, Berle was awarded a special Emmy Award, titled "Mr. Television." He was twice nominated for Emmys for his acting, in 1962 and 1995.

Berle was inducted into the Television Hall of Fame in 1984. On December 5, 2007, Berle was inducted into the California Hall of Fame.

Her father, Donald Cole, was a consulting engineer, and died in 1926 when Kim was only three years old. Her mother, Grace Lind, once performed as a concert pianist. She had one brother who was eight years older than she, and she was educated at Miami Beach High.

According to an in-depth article on Kim Hunter by Joseph Collura in the October 2009 issue of "Classic Images", Kim was quiet and painfully shy as a child and overcame it through the guidance of a local dramatics teacher, a Mrs. Carmine. Included were diction, voice and posture lessons.

She studied at the Actors Studio and her first professional appearance was as "Penny" in "Penny Wise" in Miami in November 1939. Then, she joined a repertory group called "Theatre of Fifteen", but it disbanded in 1942 when WWII took away most of its male members.

She made her Broadway debut performance as "Stella" in "A Streetcar Named Desire" at the Ethel Barrymore Theatre, New York, in December 1947 that was the 1947-1948 season's success and for which she won the Critics Circle and Donaldson awards.

A one-time student of the Pasadena Playhouse, she was appearing in the 1942 production of "Arsenic and Old Lace" when she was discovered by an RKO talent hunter who signed her to a seven-year contract for David O. Selznick's company. Selznick suggested she change her first name to "Kim" and a RKO secretary suggested the last name of "Hunter". A few years later, Irene Mayer Selznick, David's ex-wife by then, recommended Kim for her reprise role of "Stella" in Un tramway nommé désir (1951), for which she won an Oscar.

Born in New York and raised in Queens, John Frankenheimer wanted to become a professional tennis player. He loved movies and his favorite actor was Robert Mitchum. He decided he wanted to be an actor but then he applied for and was accepted in the Motion Picture Squadron of the Air Force where he realized his natural talent to handle a camera. After his military discharge he began a TV career in 1953 convincing CBS to hire him as an assistant director, which consisted mainly working as a cameraman at that time. He eventually started to direct the show he was working on as an assistant director. Frankenheimer still didn't want to direct films. He liked to direct live television, and he would have continued to do it if the profession itself hadn't cease to exist. He first turned to the big screen with Mon père, cet étranger (1957) which he hated to do because he thought he didn't understand movies and wasn't used to work with only one camera. Disappointed his with first feature film experience he returned to his successful television career directing a total of 152 live television shows between 1954 and 1960. He took another chance to move to the cinema industry, working with Burt Lancaster in Le temps du châtiment (1961) ending up becoming a successful filmmaker best known by expressing on films his views on important social and philosophical topics.

New York-born James Gregory gave up a career as a stockbroker for one as an actor, and began on the Broadway stage. He made his film debut in 1948. Gregory specialized in playing loud, brash, tough cops or businessmen. One of his better roles was as the detective out to get Capone in Al Capone (1959). He also played Dean Martin's boss in three of the four cheesy "Matt Helm" spy films. Memorable as the opinionated, loudmouthed Inspector Luger in the television series Barney Miller (1975).

He was the working class boy from Manchester whose intensity and natural honesty made him British television's most bankable actor. He studied at the Royal Academy of Dramatic Art. His first starring role on TV was as Sgt John Mann in Redcap (1964). His first great success, though, was as Detective Inspector Regan in Regan (1975). Violent and uncompromising, the series changed the portrayal of police work on British television and was one of the defining dramas of the 1970s.

For Inspecteur Morse (1987), Thaw was yet again cast as a policeman, but this time a more cultured character than Regan. The leisurely-paced series, set in beautiful Oxfordshire, was Thaw's most popular and long-running project. It established him as British television's most bankable actor, and during the 1990s he had many other starring vehicles. He was also a favourite of film director Richard Attenborough, who cast him in Cry Freedom - Le cri de la liberté (1987) and Chaplin (1992).

John Thaw was a quiet, private man. His marriage to actress Sheila Hancock was generally regarded as one of the strongest in showbusiness. When he died at the age of 60, the BBC website was inundated with tributes from the viewing public. His "Inspector Morse" co-star Kevin Whately simply described him as the country's finest screen actor.

Quinn was born in Dublin, Ireland, and moved to the United States with his mother and two sisters in 1988. His first role was as a pool shark in the Richard Marx video Satisfied. He later landed a major role in the John Travolta film Shout (1991), where he shared a screen kiss with Gwyneth Paltrow. He went on to have roles in a number of other movies and television series. His most notable roles were as Becky's husband, Mark, on Roseanne (1988) and half-demon Doyle on the WB's Angel (1999). He died of a heroin overdose in 2002.

Parley Baer was born on 5 August 1914 in Salt Lake City, Utah, USA. He was an actor, known for Plein pot (1988), A Fever in the Blood (1961) and Gypsy, vénus de Broadway (1962). He was married to Ernestine Clark. He died on 22 November 2002 in Los Angeles, California, USA.

An eloquent character actor who would become a celebrated TV camp icon of the late 1960s, Jonathan Harris was born Jonathan Daniel Charasuchin on November 6, 1914, in the Bronx borough of New York City. The son of impoverished Russian-Jewish émigrés, his father worked in the garment industry and young Jonathan contributed to the family income by working as a box boy in a pharmacy at age 12, which inspired him enough to, after graduating from James Monroe High School, earn a pharmacy degree at Fordham University in 1936.

However, Jonathan's desire to act was quite strong at an early age and it proved overwhelming in the end, forsaking a steady pharmaceutical career for the thoroughly unsteady work in the theater. Self-trained to shake his thick Bronx accent by watching British movies and pursuing interests in Shakespeare and archaeology, Jonathan changed his surname to one much easier to pronounce. After performing in over 100 plays in stock companies nationwide, he finally made an inauspicious debut as a Polish officer in the play "Heart of a City" (1942) and also entertained World War II troops in the South Pacific. Other New York plays during this war-era decade would include "Right Next to Broadway" (1944), "A Flag Is Born" (1946), "The Madwoman of Chaillot (1948) and "The Grass Harp" (1952).

Following his introduction to live television drama in 1948, Jonathan ventured off to Hollywood. After appearing in a number of television anthologies such as "The Chevrolet Tele-Theatre", "Pulitzer Prize Playhouse", "Betty Crocker Star Matinee", "Goodyear Playhouse" and "Hallmark Hall of Fame", he made his film debut as part of a band of potential mutineers in the film Les Bagnards de Botany-Bay (1952) starring doctor hero Alan Ladd and villainous captain James Mason. He wouldn't make another film for another five years, with a supporting role as Lysias in the biblical story of Simon Peter in Simon le pêcheur (1959) starring Howard Keel.

However, it was television that would make keep Jonathan working and make a stronger impression. Remaining steadfast on classy anthologies dramas such as "Armstrong Circle Theatre", "Studio One in Hollywood", "Matinee Theatre", "Schlitz Playhouse", "Climax", "Colgate Theatre", "Kraft Theatre", "General Electric Theatre", as well as the role of Exton in a TV-movie version of King Richard II (1954), he began appearing on more popular television series such as Zorro (1957), Papa a raison (1954), The Law and Mr. Jones (1960), Outlaws (1960), La quatrième dimension (1959), The Lloyd Bridges Show (1962) and Bonanza (1959), Jonathan got his first taste of television success and audiences got to witness the fusty, cowardly, uppity side of Jonathan in two archetypal regular roles: as cowardly assistant Bradley Webster on the crime drama The Third Man (1959) starring Michael Rennie and as persnickety hotel manager Mr. Phillips on the short-lived sitcom The Bill Dana Show (1963) starring the Latin-speaking comic as a bellhop.

This culminated in the television regular role that would make Jonathan a cult icon, as Dr. Zachary Smith, the dastardly, effete spaceship stowaway on Perdus dans l'espace (1965). Along with his straight man robot, Harris easily stole the show week after week as he botched and mangled all the good intentions of the Robinson family to get back home to Earth. Jonathan would find himself severely typecast as a plummy villain for the remainder of his career, and was seen usually in cryptic form on such television series as Madame et son fantôme (1968), Land of the Giants (1968), Max la menace (1965), Ma sorcière bien aimée (1964), McMillan & Wife (1971), Night Gallery (1969), Love, American Style (1969), Sanford and Son (1972), Vegas (1978), L'île fantastique (1977), etc. He did reappear on the brief sci-fi series Space Academy (1977), as Commander Isaac Gampu, leader of a space academy in the year 3732. However, this character was the polar opposite of Dr. Zachary Smith -- wise, honorable and brave.

Jonathan's crisp, eloquent voice was also used frequently with great relish in commercials and for sci-fi and animated series purposes -- The Banana Splits Adventure Hour (1968), Galactica (1978), Foofur (1986), Visionaries: Chevaliers de la lueur magique (1987), Enfant à problème (1993), Félix le chat (1995), Freakazoid! (1995) and Les aventures de Buzz l'Éclair (2000). His voice was also used for the animated features Blanche Neige et le château hanté (1989), 1001 Pattes (1998) and Toy Story 2 (1999).

A drama teacher and vocal coach in later years, Harris died of a blood clot to the heart on November 3, 2002, just three days before his 88th birthday. He was survived by his long-time wife (from 1938), Gertrude Bregman, and son Richard (born 1942). He was interred in Westwood Village Memorial Park Cemetery in Los Angeles, California.

Born in Oakland, California, Kenneth Tobey was headed for a law career when he first dabbled in acting at the University of California Little Theater. That experience led to a year and a half of study at New York's Neighborhood Playhouse, where his classmates included Gregory Peck, Eli Wallach and Tony Randall. Throughout the 1940s Tobey acted on Broadway and in stock; he made his film debut in a 1943 short, "The Man on the Ferry." He made his Hollywood film bow in a Hopalong Cassidy Western, and has since appeared in scores of features and on numerous TV series. He even had his own series, Whirlybirds (1957), in which he played an adventurous helicopter pilot.

Born in Beckenham, Kent, English character actor Maurice Denham first came to public notice in the 1940s on radio, appearing on many of the most popular comedy series of the day in a variety of characters. His debut in films came in 1947 with Les pirates de la Manche (1947). His talents came to the forefront in the animated feature La ferme des animaux (1954), in which he voiced all of the animal characters. A prolific actor, his familiar sharp features and bald head appeared in dozens of films over the following years, often as charming but slightly 'barmy' characters and well-bred cads, although he was more than capable of playing straight drama, as he did in the war picture Coulez le Bismarck! (1960) as a naval officer helping to hunt down and sink the German battleship. He began appearing regularly in television in the 1970s and also worked steadily on the stage.

He died of natural causes at age 92 in London, England.

Whitney Blake was born on 20 February 1926 in Eagle Rock, California, USA. She was a writer and actress, known for Adèle (1961), My Gun Is Quick (1957) and Des agents très spéciaux (1964). She was married to Allan Manings, Jack Fields and John Thomas Baxter Jr.. She died on 28 September 2002 in Edgartown, Massachusetts, USA.

Canadian-born Jack Kruschen entered films after years on the stage, and became a dependable character actor both in movies and on television. Often cast as ethnic comedy relief, Kruschen occasionally landed a role as a villain, but was more often the volatile, emotional Italian or Jewish neighbor patriarch. He was nominated for an Academy Award for his role in La garçonnière (1960).

Vaudeville comedienne Billie Bird Sellen was discovered at an orphanage at the age of eight years and hired to tour theater circuits with a vaudeville troupe. During the Vietnam War she accompanied 12 USO tours entertaining the troops in the war zone in the 1960s and 1970s. She had worked as recently as 1995 when she appeared in Jury Duty (1995), starring Pauly Shore. Other notable performances were in Denis la malice (1993) and Maman, j'ai raté l'avion ! (1990).

One of her best-known film appearances was in the 1968 movie Drôle de couple (1968). Her last appearance was a cameo in 1997 in the short-lived television comedy George & Leo (1997) with Judd Hirsch and Bob Newhart. She had also been a regular from 1988-1992 in the sitcom Dear John (1988), and in a series of performances as a cheerful and sassy senior citizen in such productions as Le père Noël est en prison (1988) and Police Academy 4 : Aux armes citoyens (1987).

Although he sounded very British, Leo McKern was an Australian. By the time he was 15 years old, he had endured an accident that left him without his left eye. A glass eye replaced it - one might conjecture for the better, as far as making McKern a one-day actor of singular focus (no pun intended; his face had that extremely focused look). He failed to complete Sydney Technical High School, though his interest in engineering prompted him to transfer into the role of engineering apprentice (1935 to 1937). He expanded his horizons in a different direction with a two-year stint (1937-1940) at a commercial art college. By then World War II was escalating toward Australia, and he volunteered for service with the Engineering Corp of the Australian Army (1940 to 1942). But yet one more career move was needed, and that while the war moved northward away from Australia when America joined the fight. He studied acting and debuted on stage in 1944. He also met an Australian stage actress (Jane Holland), and mutual attraction took its course. In 1946 she had acting opportunities in England, and McKern decided that, along with the wish to propose to her, his own future as an actor lay there also.

McKern was short and stout with a great bulbous nose upon an impish face--all the ingredients for great character. His voice was a sharp and vociferous grind upon the back teeth--also perfect for character. After some touring (which included a trip to post-war Germany), he began to appear with regularity on London's premiere stages, particularly the Old Vic (1949-52 and then again 1962-63). These roles meshed with classic English work when he moved on to the Royal Shakespeare Company (RSC) at Stratford-upon-Avon and the Shakespeare Memorial Theater (later reconstituted as the now Royal Shakespeare Theater) from 1952 to 1954. He also spent a season at the New Nottingham Playhouse. He had weaned himself off his Australian accent long before this with his bid for film roles, the first being as one of the four murderous barons in the Thomas a' Becket story Meurtre dans la cathédrale (1951). And he kept his medieval tights on for his next screen appearances (though the small screen of TV) in some roles for the popular Richard Greene series The Adventures of Robin Hood in 1955, while he continued stage work.

From then on, McKern had roles in two to three movies a year--busy but not too busy--gradually mixing progressively more and more TV work in the 1950s, 1960s, and 1970s. The films were as varied as a good stage actor could justify moving into a popular medium. Though he was usually police officials, doctors, and authoritative figures, he always made these early parts stand out. Drama comes in various packages; he was not averse to the rise of sci-fi as a vehicle for it. He graced two British sci-fi classics: X the Unknown (1956) and the better Le Jour où la Terre prit feu (1961). And there was also TV fantasy work, one of the best known examples being multiple outings as interrogator and chain-yanker Number Two in The Prisoner series. In the late '70s, he condescended to add some weight to two of the Omen movies, as did Gregory Peck and William Holden, putting him in good company. Great drama was McKern's meat. And doing some historically significant on a great scale was an opportunity for a Shakespearean not to miss. He was cast in the screen version of the Robert Bolt hit play Un homme pour l'éternité (1966). And his visage was perhaps part of the allure. Cast as ruthless political climber and fated chancellor of England Thomas Cromwell, McKern looked like the Hans Holbein court painting of the man who rather nefariously succeeded to Sir Thomas More's position. More was played by McKern's fellow RSC resident Paul Scofield. McKern gave flesh to the commoner Cromwell, making him loud and abrasive with a delightful verve. Later he and Scofield shared another film role, in the sense that the latter turned down the part of Thomas Ryan in the David Lean epic of Ireland La Fille de Ryan (1970), while McKern accepted it and made the role work. (Scofield would have been a miscast, something he probably wisely foresaw.)

McKern, from his early screen roles, could do comedy. He had a fair share of outrageous characters, and he could play them with a glint in his eye and a bit of extra cheek in his performance to show that he must have had fun in the role. In this regard, he showed his stuff supporting Peter Sellers in the endearing La souris qui rugissait (1959) and had the lead in the outlandish A Jolly Bad Fellow (1964) as a college professor who decides to snuff out humanity with poison laughing gas. He was a broad country fellow with a Shakespearean twist as Squint in Les aventures amoureuses de Moll Flanders (1965). In one of his later comedies, he is rather overlooked because of its clever script; in fact, it is an over-the-top tour de force for McKern. As the infamous nemesis Professor Moriarty in Le frère le plus fûté de Sherlock Holmes (1975), McKern manages to steal the show from funny man and director/writer Gene Wilder along with Marty Feldman and Roy Kinnear. McKern's Moriarty is devilish but tongue-in-cheek with a vengeance, especially with his nervous tic of suddenly, at any time and out of nowhere, yelling, "YAAA, YAAA!"

Yet McKern's chief legacy has been and probably will continue to be his long-running TV role in more mystery (he had done his fair share in film and TV already) as Horace Rumpole in "Rumpole of the Bailey" (1978-1992), a role originally introduced by him in the teleplay "Rumpole of the Bailey" in 1975. The role had been specifically created for him by writer John Mortimer, and though every actor can appreciate the security of a long-running role, McKern feared that it was subsuming his more than considerable body of work. Along with that, McKern became increasingly self-conscious of his acting, and mixed in was the idea that his physical appearance was not appealing to the public. As a result, he had to deal with a progressively increasing stage fright. He need not have worried; he was working in diverse TV and movie roles nearly to the time of his passing, and he was beloved by movie and TV fans alike. Along with receiving the award of Officer of the Order of Australia from his home country, in 1983 McKern's memoir "Just Resting" was published.

This owl-faced comic actor enjoyed his first featured film role in the RKO production Too Many Girls (1940), in which he reprised the role of "JoJo Jordan" that he had played in the Broadway stage version of that musical. (Into the pantheon of pop-music standards came one that Bracken had introduced in "Too Many Girls", the melancholy "I Didn't Know What Time It Was"). But the then 20-year-old Eddie Bracken was by no means new to show business in general or Hollywood in particular. He had played in vaudeville and performed in nightclubs by the time he was 9, and had just later appeared on screen in four of the Hal Roach "Our Gang" comedy two-reeler film shorts. It was on account of his appearances in musicals and comedies as a shy, giggling, clumsy, stammering, sentimental, self-effacing, would-be hero that Bracken achieved popularity, not to say star status, among movie audiences of the 1940s. The director Preston Sturges served up those attributes of Eddie Bracken particularly well in two of Sturges's more memorable comedies. As "Norval Jones" in Miracle au village (1943) (filmed in 1942; released 1944), Bracken portrays a man whose destiny others have foisted upon him. A certain "Trudy Kockenlocker" (played by Betty Hutton), having attended a party for military servicemen, later finds herself to be pregnant but has no recollection of who the father might be. So she persuades the always-befuddled Norval to take credit for the child and marry her. Somehow, Norval emerges a true hero in the end, but you'll have to see the film to discover why. As Norval Jones was physically unfit for military service, so also was "Woodrow Lafayette Pershing Truesmith", with Eddie Bracken in the role, in Preston Sturges's Héros d'occasion (1944). Solely on the basis of his father's reputation as a World War I U.S. Marine hero, a group of saloon-hopping World War II-era U.S. Marines, led by a crusty senior-level sergeant (played to a tee by William Demarest), elevate the physical reject Truesmith into a modern, combat-decorated veteran, and then usher him into an election campaign for Truesmith's hometown mayoralty. The complications, including a love interest (in the person of actress Ella Raines, are by now well under way. As Eddie Bracken's age increased his popularity -- or perhaps that of the genre of film vehicles that was his forte -- decreased, and in 1953 he essentially retired from the screen, moving on to pursue theatrical ventures. But he would return to Hollywood eventually, and we have been fortunate to see him in character roles in theatrical and TV films through the 80's and 90's.

He was born in Auckland, New Zealand and spent his early childhood there. His family moved to the small rural town of Timaru in New Zealand's South Island when he was 11. During high school, he began playing in rock-and-roll bands, but never aspired to a career as an actor. He had a passion for rugby and his dream was to play for the All Blacks, New Zealand's world-famous rugby team. At 17, Smith moved to Christchurch and worked at various jobs before enrolling in Canterbury University at the age of 20. He married his childhood sweetheart, Sue, and stumbled into acting literally by accident when he suffered a concussion playing college rugby in 1987. He was forced to sit on the sidelines for nearly three weeks and during that period, Sue saw a casting call ad for the touring company of Are You Lonesome Tonight, the musical tribute to Elvis Presley, and signed Kevin up for an audition. He landed the part of one of the bodyguards and was understudy to the lead. He played in a number of alternative rock bands in New Zealand, including being one of the lead singers of The Wide Lapels, a local band which inspired rave reviews and a devoted following for its camp renderings of the worst songs of the '70s -- songs like Take a Letter, Maria, Tell Laura I Love Her and Billy, Don't be a Hero -- which qualify for the group's repertoire on the basis of having bad lyrics that don't get better with time. Kevin and his wife Sue resided in Auckland. They had three sons together: Oscar, Tyrone and Willard.

John Agar was born in Chicago, the eldest of four children. In World War II, Sgt. John Agar was a United States Army Air Force physical instructor. His 1945 marriage at the Wilshire Memorial Church to "America's Sweetheart" Shirley Temple put him in the public eye for the first time, and a movie contract with independent producer David O. Selznick quickly ensued.

Agar debuted opposite John Wayne, Henry Fonda and Temple in John Ford's Le Massacre de Fort-Apache (1948), initial film in the famed director's "Cavalry Trilogy".

His marriage to Shirley Temple ended in 1949, while his movie career continued.

Popular with fans of Westerns and sci-fi flicks, Agar was a staple at film conventions and autograph shows.

Although younger brother Dean Stockwell is perhaps the better known actor of the two, Guy Stockwell was a strong, seriously handsome and highly reliable performer over the years, appearing in over 30 films and 200 television shows. The son of Broadway singing baritone Harry Stockwell, his mother, Elizabeth Margaret Veronica, a former chorus girl/dancer who once went by the stage name of "Betty Veronica," sent both Dean and Guy to an open call for a 1943 Broadway show entitled "The Innocent Voyage," which was to star famed acting teacher Herbert Berghof. The play needed about a dozen children and, by chance, both boys were cast. Dean went immediately into films for MGM and became a popular post-war child star while Guy had to wait until adulthood before coming into his own. Following high school he attended the University of California where he majored in psychology and philosophy.

Guy started his career off in minor film and TV bits, then was given his big break in 1961 as a regular cast member of the outdoor sea adventure Aventures dans les îles (1959) as first mate to star Gardner McKay. He played the role for one season. Following that in 1963 he became one of 11 performers who made up the company for Richard Boone's television anthology series. Guy became a Universal contract player in 1965 and went straight into several standard tales of adventure and intrigue, including Le seigneur de la guerre (1965), Tobrouk (1967) and Les yeux bandés (1966). Initially promoted as a dashing Errol Flynn type in swordplay adventures and outdoor epics, the studio had him star in the remake of Gary Cooper's French Foreign Legion classic Beau Geste le baroudeur (1966) opposite another film up-and-comer Doug McClure. He co-starred with McClure again, this time as the villain, in Le pirate du roi (1967) while vying for beauties Jill St. John and Mary Ann Mobley. He also earned the role of Buffalo Bill Cody in a remake of Cooper's Les Fusils du Far-West (1966). Playing a villain again in the glossy soaper Banning (1967) with Robert Wagner and Ms. St. John, most of Guy's high-profile roles came off routine at best and the films failed at the box office. He made his last picture for Universal co-starring with Anthony Franciosa in En pays ennemi (1968) before his contract ended.

Guy subsequently gravitated towards the small screen and local stage. He created the Los Angeles Art Theater along the way where he played leading roles in well-received productions of "Hamlet" and his own adaptation of "Crime and Punishment.". Gaining respect in later years as an acting teacher, he wrote a textbook for actors called Cold Reading Advantage (1991) and taught acting (as an alumnus at the University of California) for two years in their masters program. Subsequent character parts in films were a bit offbeat to say the least, having gained some weight over time. He was also involved in extensive voice-over work.

Married and divorced three times, he had two children, Doug and Victoria, by first wife Susan; an adopted son, Kerry, by second wife Sandy; and had several stepchildren by his marriage to third wife Olga. Guy suffered from diabetes in later years and died of complications in 2002. He was 68.