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Few actors ever managed a complete image transition as thoroughly. In the case of Dick Powell, from boyish, wavy-haired crooners in musicals to rugged crime fighters in films noir. Powell grew up in the town of Little Rock, Arkansas, one of three brothers (one of them, Howard, ended up as vice president of the Illinois Central Railroad). He worked his way through schooling, sidelining as a soda jerk and a grocery clerk before entering the world of show biz as a singer (tenor) and banjo player with the Royal Peacock Orchestra in Louisville, Kentucky. He then got a gig with the Charlie Davis band and toured with them throughout the mid-west, appearing at dance halls and picture theaters. He next worked as a master of ceremonies and this rounded him off as an entertainer even before he was signed by a Warner Brothers talent scout in 1932. Looking rather younger than his actual years, Powell soon found himself typecast as clean-cut singing juveniles in a series of exuberant musicals with lavish production numbers like 42nd Street (1933), one of two dozen similar pictures he made for the studio.

In 1935, Powell's salary amounted to $70,000. Two years later, he had become one of Hollywood's top ten box office stars, yet was paid just half of what he had earned as an MC. A keen businessman with an eye for profit, Powell had already invested wisely in land and property. When he left Warners in 1939 with no discernible acting opportunities in sight, he was in no way short of money. He was, however, desperate to escape his image, declaring "I knew I wasn't the greatest singer in the world and I saw no reason why an actor should restrict himself to any one particular phase of the business". He fairly jumped at the chance to act in non-singing roles, joining Paramount in 1940 to appear opposite Ellen Drew in the sparkling Preston Sturges comedy Christmas in July (1940). This was followed by two marital farces featuring his then-wife, Joan Blondell, both efforts receiving only a lukewarm response at the box-office. Still dissatisfied with lightweight roles, Powell lobbied hard to get the lead (eventually scored by Fred MacMurray) in Double Indemnity (1944) but was knocked back. Instead, he was slotted into more of the same fare, refused to comply and was suspended.

His box office credo now at a low ebb, Powell tried his luck at RKO and at last managed to secure a lucrative role: that of hard-boiled private eye Philip Marlowe in Raymond Chandler's Murder, My Sweet (1944). The author himself approved of the casting, though the director (Edward Dmytryk) fought off initial misgivings. The result proved nothing if not a tangible hit for RKO. Bosley Crowther of the New York Times remarked " ...and while he may lack the steely coldness and cynicism of a Humphrey Bogart, Mr. Powell need not offer any apologies. He has definitely stepped out of the song-and-dance, pretty-boy league with this performance". In short order, offers suddenly kept coming. Having successfully reinvented himself, Powell now found steady work on radio, respectively as "Richard Rogue" and then "Richard Diamond, Private Eye". In films, he remained on cue for wise-cracking tough guy roles in Cornered (1945) and Johnny O'Clock (1947). His most challenging role yet was as best-selling novelist James Lee Bartlow in MGM's epic drama The Bad and the Beautiful (1952)]. Powell also dabbled in directing, though he only helmed six pictures in total: among them a minor film noir, Split Second (1953)], and an above-average submarine drama, The Enemy Below (1957)]. Having quit film acting in the mid-50s, he began to concentrate primarily on producing TV drama as host and executive producer of his own award-winning anthology show, The Dick Powell Theatre (1961). He was also co-founder and managing director of Four Star Television (which had its studios where Republic had formerly existed and which would subsequently become CBS Cinema Center).

Dick Powell died prematurely of lung cancer in January 1963 at the age of 58. He was survived by his third wife, the actress June Allyson.

Born in Mexican revolution times, Pedro Armendáriz was the first child of Mexican Pedro Armendáriz García-Conde and American Adele Hastings. He was raised in Churubusco, then a suburb of Mexico City, before the family traveled to Laredo, Texas. They lived there until 1921, the year Armendáriz' parents died. His uncle Francisco took charge of his education, and young Pedro went to the Polytechnic Institute of San Luis Obispo, California. There, he studied business and journalism. He graduated in 1931 and returned to Mexico City where he found work as a railroad employee, insurance salesman and tourist guide. He was discovered by director Miguel Zacarías when Armendáriz was reciting Hamlet's monologue (to be or not to be) to an American tourist in a cafeteria.

After that, Armendáriz began a brilliant career in Mexico, the United States and Europe. Together with Dolores Del Río and Emilio Fernández, Armendáriz made many of the greatest films in the so-called Mexican Cinema Golden Era: Wild Flower (1943), Bugambilia (1945), Maria Candelaria (1944), among others. He was considered a prototype of masculinity and male beauty. His green eyes and almost perfect features made him perfectly cast in any role he made. But it was his passion, force and acting abilities, combined with his quality of a gentleman what made him an instant favorite of great directors like John Ford, international costars like María Félix, Sean Connery or Susan Hayward, and his fans in Mexico and other countries.

Karyn Kupcinet was born on 6 March 1941 in Chicago, Illinois, USA. She was an actress, known for The Little Shop of Horrors (1960), The Gertrude Berg Show (1961) and Hawaiian Eye (1959). She died on 28 November 1963 in West Hollywood, California, USA.

Tokyo-born Yasujiro Ozu was a movie buff from childhood, often playing hooky from school in order to see Hollywood movies in his local theatre. In 1923 he landed a job as a camera assistant at Shochiku Studios in Tokyo. Three years later, he was made an assistant director and directed his first film the next year, Sword of Penitence (1927). Ozu made thirty-five silent films, and a trilogy of youth comedies with serious overtones he turned out in the late 1920s and early 1930s placed him in the front ranks of Japanese directors. He made his first sound film in 1936, The Only Son (1936), but was drafted into the Japanese Army the next year, being posted to China for two years and then to Singapore when World War II started. Shortly before the war ended he was captured by British forces and spent six months in a P.O.W. facility. At war's end he went back to Shochiku, and his experiences during the war resulted in his making more serious, thoughtful films at a much slower pace than he had previously. His most famous film, Tokyo Story (1953), is generally considered by critics and film buffs alike to be his "masterpiece" and is regarded by many as not only one of Ozu's best films but one of the best films ever made. He also turned out such classics of Japanese film as The Flavor of Green Tea Over Rice (1952), Floating Weeds (1959) and An Autumn Afternoon (1962).

Ozu, who never married and lived with his mother all his life, died of cancer in 1963, two years after she passed.

Classic comedienne Zasu Pitts, of the timid, forlorn blue eyes and trademark woebegone vocal pattern and fidgety hands, was born to Rulandus and Nellie (Shay) Pitts, the third of four children on January 3, 1894. Her aged New York-native father, who lost a leg back in the Civil War era, had settled the family in Kansas by the time ZaSu was born but relocated to Santa Cruz, California, when she was 9, seeking a warmer climate and better job opportunities. She attended Santa Cruz High and somehow rose above her excessively shy demeanor to join the school's drama department. She went on to cultivate what was once deemed her negative qualities by making a career out of her unglamorous looks and wallflower tendencies in scores and scores of screwball comedy treasures.

Pitts made her stage debut in 1915 and was discovered two years later by pioneer screenwriter Frances Marion, who got her work, though in small, obscure parts, in vehicles for such Paramount stars as Douglas Fairbanks and Mary Pickford. Mary cast her in another of her films to greater effect and the rest is history. She grew in popularity following a series of Universal one-reeler comedies and earned her first feature-length lead in King Vidor's Better Times (1919). She met and married matinée idol Tom Gallery in 1920 and paired up with him in several films, including Bright Eyes (1921), Heart of Twenty (1920), Patsy (1921), and A Daughter of Luxury (1922).

Their daughter Ann was born in 1922. In 1924 the actress, now a reputable comedy farceur, was given the greatest tragic role of her career in Erich von Stroheim's epic classic Greed (1924), an over-four-hour picture cut down by the studio to less than two. The surprise casting initially shocked Hollywood but showed that she could draw tears and pathos as well as laughs with her patented doleful demeanor. The movie has grown tremendously in reputation over time, although it failed initially at the box office due to its extensive cutting.

Trading off between comedy shorts and features, she earned additional kudos in such heavy dramas as Sins of the Fathers (1928), The Wedding March (1928), also helmed by Von Stroheim, and War Nurse (1930). Still, by the advent of sound, which was an easy transition for Pitts, she was fully secured in comedy. One bitter and huge disappointment for her was when she was replaced in the war classic All Quiet on the Western Front (1930) by Beryl Mercer after her initial appearance drew unintentional laughs from preview audiences. She decided, however, to make the most of a not-so-bad situation. She had them rolling in the aisles in such wonderful and wacky entertainment as The Dummy (1929), Finn and Hattie (1931), The Guardsman (1931), Blondie of the Follies (1932), Sing and Like It (1934), and Ruggles of Red Gap (1935). She also excelled deliciously in her comedy partnerships with stunning blonde comedienne Thelma Todd (in short films) and gangly comedian Slim Summerville (in features).

Breezing through the 1940s in assorted films, she found work in vaudeville and on radio as well, trading quivery banter with Bing Crosby, Al Jolson, and Rudy Vallee, among others. She also tackled Broadway, making her debut in the mystery "Ramshackle Inn" in 1944. The play, which was written especially for her, fared quite well and, as a result, took the show on the road frequently in later years. Postwar films continued to give Pitts the chance to play comic snoops and flighty relatives in such quality fare as Life with Father (1947), but into the 1950s she started focusing on TV. This culminated in her best known series role, playing second banana to cruise line social director Gale Storm in The Gale Storm Show: Oh! Susanna (1956) [aka "Oh, Susannah"]. As Nugie, the shipboard beautician and partner-in-crime, she made the most of her timid, twitchy mannerisms.

Sadly, ill health dominated Pitts' later years when she was diagnosed with cancer in the mid-1950s. She bravely carried on, continuing to work until the very end, making brief appearances in The Thrill of It All (1963) and the all-star comedy epic It's a Mad Mad Mad Mad World (1963). Having married a second time after her divorce from Gallery, the beloved sad sack comedienne passed away at age 69 on June 6, 1963, leaving behind a gallery of scene-stealing worrywarts for all to enjoy.

Sabu Dastagir (or Selar Shaik Sabu, depending on your resource) was born on January 27, 1924, in the little town of Mysore, India, which is nestled in the jungles of Karapur. The son of an elephant driver (mahout) in service for the Maharajah of his town, the young stable boy learned responsibility early in life when, at age 9, his father died and Sabu immediately became the ward of the royal elephant stables. As with many Hollywood success stories, good timing, and dumb luck allowed the impoverished youth a chance for a better life. By sheer chance the timid 12-year-old orphan was discovered by a British location crew while searching for a youth to play the title role (an elephant driver!) in their upcoming feature Elephant Boy (1937). Quite taken aback by his earnest looks, engaging naturalness and adaptability to wild animals and their natural habitat, the studio handed the boy a film career on a sterling silver platter and was placed under exclusive contract by the mogul Alexander Korda himself.

Sabu and his older brother (as guardian) were whisked away to England to complete the picture and became subsequent wards of the British government. They were given excellent schooling in the process and Sabu quickly learned the English language in preparation for his upcoming films. Elephant Boy (1937) was an unqualified hit and the young actor was promptly placed front and center once again in the film The Drum (1938) surrounded by an impressive British cast that included Raymond Massey and Valerie Hobson. With the parallel success of the Tarzan jungle movies in America, Hollywood starting taking a keen look at this refreshingly new boy talent when he first arrived in the U.S. for a publicity tour of the film. Again, his second film was given rave reviews, proving that Sabu would not be just a one-hit wonder.

His third film for Korda is considered one of the great true classics. In the Arabian fantasy-adventure The Thief of Bagdad (1940), Sabu plays Abu the Thief and is not only surrounded by superb actors -- notably June Duprez, John Justin, Rex Ingram (as the genie) and Conrad Veidt (as the evil Grand Vizier) -- but exceptional writing and incredible special effects. Sabu's name began stirring international ears. His last pairing with Korda was the excellent adaptation of Rudyard Kipling's classic book The Jungle Book (1942) playing Mowgli, the boy raised by wolves, who must adapt to the ways of mankind after being returned to his mother. The movie was directed by Alexander's brother Zoltan Korda.

Following this triumph, Sabu officially became the exotic commodity of Universal Pictures and he settled in America. Although initially rewarding monetarily, it proved to be undoing. Unfortunately (and too often typical), a haphazard assembly-line of empty-minded features were developed that hardly compared to the quality pictures in England under Korda. Saddled alongside the unexceptional Maria Montez and Jon Hall, his vehicles Arabian Nights (1942), White Savage (1943) and Cobra Woman (1944) were, for the most part, drivel but certainly did fit the bill as colorful, mindless entertainment.

Almost 20 years old by the time he became a citizen of the U.S. in 1944, he enlisted in the Army Air Force and earned WWII distinction in combat missions (Distinguished Flying Cross, Air Medal, among others) as a tail gunner. By the time Sabu returned to Universal and filming, the charm of his youth had worn off and the boyish stereotype impossible to escape.

Post-war audiences developed new tastes, but Sabu had no choice but to trudge on with retreads of his former glory. Films such as Tangier (1946) again opposite Ms. Montez, Man-Eater of Kumaon (1948) and Song of India (1949) opposite lovely princess Gail Russell did little to advance his career. While filming the last-mentioned movie, Sabu met and married actress Marilyn Cooper who temporarily filled in for an ailing Ms. Russell on the set. The couple went on to have two children.

Sabu actually fared better back in England during the late 40s, starring in the crime drama The End of the River (1947) and appearing fourth-billed as a native general in the exquisitely photographed Black Narcissus (1947). Daring in subject matter, the film had Deborah Kerr heading up a group of Anglican nuns who battle crude traditions, unexpected passions and stark raving madness while setting up a Himalayan order. By the mid-50s Sabu's career was rapidly approaching extinction, seeking work wherever he could find it - in low-budget Europe productions, public appearances, etc. An attempt to conjure up a TV series for himself failed. His life was further aggravated by unpleasant civil and paternity suits brought about against him. His last two pictures were supporting roles in Rampage (1963), which starred Robert Mitchum, and A Tiger Walks (1964), a thoroughly routine Disney picture which was released posthumously.

Sabu died unexpectedly at age 39 of a heart attack on December 2, 1963, at his home in Southern California and was buried at Forest Lawn Cemetery in the Hollywood Hills. Son Paul Sabu developed into an accomplished songwriter and even formed a rock band called Sabu; daughter Jasmine Sabu, who died in 2001, was a noted horse trainer whose skill was utilized occasionally for films. Although he went the way of too many of our former stars, Sabu continues to enchant and excite newer generations with his unmatched athletic skills and magnetic charm in those early adventure fantasies of yesteryear.

Large and hearty Monty Woolley was born to privilege on August 17, 1888, the son of a hotel proprietor who owned the Marie Antoinette Hotel on Broadway. A part of Manhattan's elite social circle at a young age, he studied at both Yale (Master's degree) and Harvard and returned to Yale as an English instructor and coach of graduate dramatics. Among his students were Thornton Wilder and Stephen Vincent Benet.

Directly involved in the theater arts via his close association with intimate Yale friend and confidante Cole Porter, Monty directed several Broadway musicals and reviews, many in collaboration with Porter, including "Fifty Million Frenchmen" (1929) (an early success for Porter), "The New Yorkers" and "Jubilee" (1935). In 1936, at age 47, the witty, erudite gent had a career renaissance and gave up his Ivy League professorship once and for all in order to pursue the stage professionally. He took his first Broadway bow in the hit musical "On Your Toes" alongside Ray Bolger. Hollywood soon took notice and he began receiving supporting credit as assorted judges and doctors for such MGM fare as Live, Love and Learn (1937), Everybody Sing (1938), the Margaret Sullavan tearjerker Three Comrades (1938), Lord Jeff (1938), the Jeanette MacDonald/Nelson Eddy musical The Girl of the Golden West (1938) and Young Dr. Kildare (1938).

Typically playing cunning character leads and support roles, he was affectionately nicknamed "The Beard" by friend Cole Porter for his distinguished, impeccably-trimmed white whiskers. It was Monty who introduced Porter into the famed New York theater circle. Known for his sartorial elegance, ribald sense of humor and snob appeal, he and Porter were highly prominent carousers in the New York gay social underground.

Monty came into his own in 40s films, earning a best actor Oscar nomination for his role in the WWII drama The Pied Piper (1942), a supporting actor nod in another war classic, Since You Went Away (1944), and portrayed himself in the absurdly fictionalized (and sanitized) "biography" of Cole Porter entitled Night and Day (1946) starring a woefully miscast but admittedly flattering Cary Grant in the lead. A flashy delight in other movie roles, Monty received top billing in Irish Eyes Are Smiling (1944) with June Haver and Dick Haymes, playing a twinkle-eyed con man; appeared opposite Brit comedienne Grace Field in the English-humored Molly and Me (1945) and Holy Matrimony (1943); again with Cary Grant along with Loretta Young and David Niven as a professor in the perennial Christmas classic The Bishop's Wife (1947); plots against his own retirement in the mild comedy As Young as You Feel (1951) opposite another scene-stealing favorite, Thelma Ritter; and ended his film career with the role of Omar Khayyam in the glossy MGM operetta Kismet (1955).

Above all, however, Monty will be forever and indelibly cherished as the irascible (and definitive) radio personality Sheridan Whiteside in the stage and film versions of Kaufman and Hart's screwball classic The Man Who Came to Dinner (1941). Playing the razor-tongued, wheelchair-bound celebrity who wreaks havoc for everyone within knife-throwing distance, this would be the hallmark of his never-too-late-to-try career. He played another uppity and bombastic celebrity, this time a washed-up classical actor, in the more sentimental Life Begins at Eight-Thirty (1942), another role dripping with crusty sarcasm.

Monty appeared sporadically on radio and TV before and after his last filming in 1955. He died of kidney/heart problems in 1963 at the age of 74.

The words "suave" and "debonair" became synonymous with the name Adolphe Menjou in Hollywood, both on- and off-camera. The epitome of knavish, continental charm and sartorial opulence, Menjou, complete with trademark waxy black mustache, evolved into one of Hollywood's most distinguished of artists and fashion plates, a tailor-made scene-stealer, if you will. What is often forgotten is that he was primed as a matinée idol back in the silent-film days. With hooded, slightly owlish eyes, a prominent nose and prematurely receding hairline, he was hardly competition for Rudolph Valentino, but he did possess the requisite demeanor to confidently pull off a roguish and magnetic man-about-town. Fluent in six languages, Menjou was nearly unrecognizable without some type of formal wear, and he went on to earn distinction as the nation's "best dressed man" nine times.

Born on February 18, 1890, in Pittsburgh, Pennsylvania, he was christened Adolphe Jean Menjou, the elder son of a hotel manager. His Irish mother was a distant cousin of novelist / poet James Joyce ("Ulysses") (1882-1941). His French father, an émigré, eventually moved the family to Cleveland, where he operated a chain of restaurants. He disapproved of show business and sent an already piqued Adolphe to Culver Military Academy in Indiana in the hopes of dissuading him from such a seemingly reckless and disreputable career. From there Adolphe was enrolled at Stiles University prep school and then Cornell University. Instead of acquiescing to his father's demands and obtaining a engineering degree, however, he abruptly changed his major to liberal arts and began auditioning for college plays. He left Cornell in his third year in order to help his father manage a restaurant for a time during a family financial crisis. From there he left for New York and a life in the theater.

Adolphe toiled as a laborer, a haberdasher and even a waiter in one of his father's restaurants during his salad days, which included some vaudeville work. Oddly enough, he never made it to Broadway but instead found extra and/or bit work for various film studios (Vitagraph, Edison, Biograph) starting in 1915. World War I interrupted his early career, and he served as a captain with the Ambulance Corps in France. After the war he found employment off-camera as a productions manager and unit manager. When the New York-based film industry moved west, so did Adolphe.

Nothing of major significance happened for the fledgling actor until 1921, an absolute banner year for him. After six years of struggle he finally broke into the top ranks with substantial roles in The Faith Healer (1921) and Through the Back Door (1921), the latter starring Mary Pickford. He formed some very strong connections as a result and earned a Paramount contract in the process. Cast by Mary's then-husband Douglas Fairbanks as Louis XIII in the rousing silent The Three Musketeers (1921), he finished off the year portraying the influential writer/friend Raoul de Saint Hubert in Rudolph Valentino's classic The Sheik (1921).

Firmly entrenched in the Hollywood lifestyle, it took little time for Menjou to establish his slick prototype as the urbane ladies' man and wealthy roué. Paramount, noticing how Menjou stole scenes from Charles Chaplin favorite Edna Purviance in Chaplin's A Woman of Paris: A Drama of Fate (1923), started capitalizing on Menjou's playboy image by casting him as various callous and creaseless matinée leads in such films as Broadway After Dark (1924), Sinners in Silk (1924), The Ace of Cads (1926), A Social Celebrity (1926) and A Gentleman of Paris (1927). His younger brother Henri Menjou, a minor actor, had a part in Adolphe's picture Blonde or Brunette (1927).

The stock market crash led to the termination of Adolphe's Paramount contract, and his status as leading man ended with it. MGM took him on at half his Paramount salary and his fluency in such languages as French and Spanish kept him employed at the beginning. Rivaling Gary Cooper for the attentions of Marlene Dietrich in Morocco (1930) started the ball rolling for Menjou as a dressy second lead. Rarely placed in leads following this period, he managed his one and only Oscar nomination for "Best Actor" with his performance as editor Walter Burns in The Front Page (1931). Not initially cast in the role, he replaced Louis Wolheim, who died ten days into rehearsal. Quality parts in quality pictures became the norm for Adolphe during the 1930s, with outstanding roles given him in The Great Lover (1931), A Farewell to Arms (1932), Forbidden (1932), Little Miss Marker (1934), Morning Glory (1933), A Star Is Born (1937), Stage Door (1937) and Golden Boy (1939).

The 1940s were not as golden, however. In addition to entertaining the troops overseas and making assorted broadcasts in a host of different languages, he did manage to get the slick and slimy Billy Flynn lawyer role opposite Ginger Rogers' felon in the "Chicago" adaptation Roxie Hart (1942), and continued to earn occasional distinction in such post-WWII pictures as The Hucksters (1947) and State of the Union (1948). His last lead was in the crackerjack thriller The Sniper (1952), in which he played an (urbane) San Francisco homicide detective tracking down a killer who preys on women in San Francisco, and he appeared without his mustache for the first time in nearly two decades. Also active on radio and TV, his last notable film was the classic anti-war picture Paths of Glory (1957) playing the villainous Gen. Broulard.

Adolphe's extreme hardcore right-wing Republican politics hurt his later reputation, as he was made a scapegoat for his cooperation as a "friendly witness" at the House Un-American Activities Commission hearing during the Joseph McCarthy Red Scare era. Following his last picture, Disney's Pollyanna (1960), in which he played an uncharacteristically rumpled curmudgeon who is charmed by Hayley Mills, he retired from acting. He died after a nine-month battle with hepatitis on October 29, 1963, inside his Beverly Hills home. Three times proved the charm for Adolphe with his 1934 marriage to actress Verree Teasdale, who survived him. The couple had an adopted son named Peter. His autobiography, "It Took Nine Tailors" (1947), pretty much says it all for this polished, preening professional.

Barbara Read was born on 29 December 1917 in Port Arthur, Ontario, Canada. She was an actress, known for Make Way for Tomorrow (1937), Three Smart Girls (1936) and The Spellbinder (1939). She was married to William Talman, Willard Edward Josephy, John Pershing Crawford and William Paul III. She died on 11 December 1963 in Laguna Beach, California, USA.

One of Hollywood's greatest screen villains, Charles Henry Pywell Daniell was born in London, England, the son of Elinor Mary (Wookey) and Henry Pyweh Daniell, L.R.C.P. He had the profound misfortune to make his professional theatrical debut on the eve of World War I. His life thus interrupted, he served in the trenches on the Western Front with the 2nd Battalion of the British Army's Norfolk Regiment. Wounded in action, he was invalided out of service in 1915 and spent much of the next few years on the West End stage without rising to particular prominence. In 1921, he made his way to the U.S. and worked hard to establish himself as a character player on Broadway, beginning with his role as Prince Charles de Vaucluse in "Claire de Lune". He enjoyed critical acclaim in only his third performance on the 'Great White Way', co-starring with Ethel Barrymore in "The Second Mrs. Tanqueray" (1924). For the remainder of the decade, Daniell alternated touring on both sides of the Atlantic, before making his first appearance on screen in 1929. Daniell's lean physique, sardonic, almost reptilian features, cold voice and incisive manner made him ideally cast as icy, austere aristocrats or as insidious, manipulating evil masterminds in period drama.

His most famous role was as the duplicitous Lord Wolfingham in The Sea Hawk (1940), though Daniell's inexperience as a swordsman compelled Warner Brothers to use a stuntman for the climactic fight scene with Errol Flynn. The previous year, Daniell had essayed the conspiratorial Sir Robert Cecil, spy master to Elizabeth I, with equal verve in The Private Lives of Elizabeth and Essex (1939). Under contract to MGM (1936-37), he also excelled as the erstwhile mentor of Greta Garbo's Camille (1936), the Baron de Varville. Their vitriolic exchanges are a highlight of the film and belie the fact that Daniell was fretfully nervous acting opposite Garbo. His other, invariably unsympathetic, portrayals include the scheming La Motte in Marie Antoinette (1938), the hypocritical clergyman Henry Brocklehurst in Jane Eyre (1943) and the gleefully villainous Regent in The Bandit of Sherwood Forest (1946). By the 1940's, Daniell popped up more and more in lower budget productions, yet managed to deliver two of his finest performances to date: the first, as Professor Moriarty, arch nemesis of Sherlock Holmes (played by his real-life friend Basil Rathbone) in The Woman in Green (1945); the second, as Dr. Wolfe MacFarlane, a 19th century Edinburgh surgeon employing the grave-robbing services of Boris Karloff in The Body Snatcher (1945), a Faustian parable in which any semblance of morality and virtue is sacrificed to the pursuit of scientific knowledge. In the end, Gray (Karloff), the instrument of MacFarlane's machinations becomes "a canker in his body", but even his killing cannot assuage the surgeon's guilty conscience and he is eventually hounded to death by visions of the latter's corpse. This was a rare leading role for Daniell whose scenes with Karloff are among the most chilling of any in this genre. For a change of pace -- or, perhaps, to change his image -- Daniell did the occasional comedic turn, most notably in Charles Chaplin's Third Reich parody The Great Dictator (1940), as 'Garbitsch', a none too thinly disguised caricature of Joseph Goebbels.

On stage, he enjoyed his most successful run (344 performances) as the avaricious Henri Trochard in "My 3 Angels" at the Morosco Theatre in 1953. The play was filmed two years later as We're No Angels (1955), with, who else, but Basil Rathbone, in the part.

Daniell died after being stricken with a heart attack at his home, a few hours after filming a scene for his final film, My Fair Lady (1964).

John Fitzgerald Kennedy was born on May 29, 1917 in Brookline, Massachusetts, to Rose Kennedy (née Rose Elizabeth Fitzgerald) and Joseph P. Kennedy. John was named after his maternal grandfather, John "HoneyFitz" Fitzgerald, the mayor of Boston. John was very ill as a child and was given the last rites five times, the first one being when he was a new-born. He was the second of four boys born to an Irish Catholic family with nine children: Joseph Jr., John, Robert F. Kennedy (called Bobby), and Ted Kennedy (born Edward). Because Rose made Joe and Jack (the name his family called him) wear matching clothes, they fought a lot for attention. When John was young, the family moved from Boston to New York. John went to Choate, a private school. Most of the time, though, he was too sick to attend. In the late 1930s, father Joe became the ambassador to England. He took sons John and Robert with him, as well as his wife and daughters Kathleen and Rosemary Kennedy. John went to Princeton, then Harvard, and for his senior thesis, he wrote a piece about why England refused to get into the war until late. It was published in 1940 and called "Why England Slept". His older brother Joe was a pilot during the war, and was killed when the bombs his plane was carrying exploded. Not long after that, John's sister Kathleen and her husband died in a plane crash. In the early 1950s, John ran for Congress in Massachusetts and won. He married Jacqueline Kennedy (née Jacqueline Lee Bouvier) on September 12, 1953. Their daughter, Caroline Kennedy, was born on November 27, 1957 and their son, John Kennedy Jr., was born on November 25, 1960. They also had a stillborn daughter named Arabella and a son named Patrick Bouvier, who died a few days after birth. In 1954, J.F.K. had to have back surgery and in the hospital wrote his second book, "Profiles in Courage". His father always said that his son Joe was going to be President of the U.S.; when he died in World War II, though, that task was passed on to John. He ran for president in 1960 against Richard Nixon and narrowly won. His administration had many conflicts, the Bay of Pigs and the Cuban Missile Crisis being key examples. In November 1963, he and Jackie (his wife's nickname) went on a trip to Texas. Everywhere they went there were signs saying "Jack and Jackie." On November 22, 1963, John was to give a speech in Dallas, but on his way an assassin hidden on the sixth floor of the Texas School Book Depository opened fire at Kennedy, who was riding in an open car. Hit twice and severely wounded, Kennedy died in a local hospital at 1:00 P.M. The alleged assassin, Lee Harvey Oswald, was captured a short time later after shooting and killing a Dallas policeman, and was himself assassinated before he could be thoroughly interrogated, let alone tried. In just a little bit of irony, considering the death of Abraham Lincoln a century earlier, Kennedy was shot in a Ford Lincoln (Lincoln was in Ford's Theater when he was shot). He was laid to rest on his son's third birthday.

Joseph Sweeney was born on 26 July 1884 in Philadelphia, Pennsylvania, USA. He was an actor, known for 12 Angry Men (1957), The United States Steel Hour (1953) and Armstrong Circle Theatre (1950). He died on 25 November 1963 in New York City, New York, USA.

When Jack Carson arrived in Hollywood in 1937, he found work at RKO as an extra. His first major acting role came alongside Humphrey Bogart in the romantic comedy Stand-In (1937). After a few years, he developed into a popular character actor who would be seen in a large number of comedies, musicals and a few westerns. Not happy with the direction his career was heading, he went to Warner Brothers in 1941, where the quality of his supporting roles improved. It also did not hurt to be in films that starred James Cagney, such as The Strawberry Blonde (1941) and The Bride Came C.O.D. (1941).

After three years, he starred with Jane Wyman in Make Your Own Bed (1944) and, again, in The Doughgirls (1944). Carson would play the nice guy with the heart of gold who was still a nice guy even when he was angry. He would take the double take and the quizzical look to a higher level, but he could also act in dramas. He provided a good portrayal of "Albert" in The Hard Way (1943) and was acclaimed for his performance in Mildred Pierce (1945). However, it was comedies that provided most of his work. He teamed up with his old friend, Dennis Morgan, for several films in the tradition of Bob Hope and Bing Crosby. It was in the 1940s that Carson would become popular as a wisecracking comedian on radio. This would lead him to television work in the 1950s, where he was one of 4 rotating hosts on All Star Revue (1950), until 1951, when he had left the show and the title was changed to "All Star Revue".

He hosted and performed on The Colgate Comedy Hour (1950) from 1952-55. He would also help host The U.S. Royal Showcase (1952). He would appear on a number of shows during the 1950s, one of his most remembered being an episode of The Twilight Zone (1959), where he played a somewhat shady used-car salesman who came into possession of an old Model-A Ford that was "haunted" in that whoever owned it had to tell the truth, whether he wanted to or not. Although his movie career slowed in the 1950s, he still appeared in a number of prestige pictures, such as A Star Is Born (1954) with Judy Garland, The Tarnished Angels (1957) with Rock Hudson and Cat on a Hot Tin Roof (1958) with Paul Newman.

Collapsed in August 1962 while in rehearsal for the play "Critic's Choice." An early diagnosis deemed it a stomach "disorder," but two months later, cancer was discovered while he was undergoing an unrelated operation.

John Farrow wrote short stories and plays during his four-year career in the navy. In the late 1920s he came to Hollywood as a technical advisor for a film about Marines and stayed as a screenwriter, from A Sailor's Sweetheart (1927) through Tarzan Escapes (1936). He married Tarzan's Jane, Maureen O'Sullivan, in 1936. He began directing in 1937 (Men in Exile (1937) and West of Shanghai (1937)). He was injured while serving as a Lieutenant Commander in the Royal Navy in World War II. After that he converted to Catholicism and wrote a biography of Thomas More, a history of the Papacy, a Tahitian/English dictionary and several novels. He collaborated in the writing of several of his films and shared the Academy Award for Around the World in 80 Days (1956).

Famed American stage actor. Trained at the American Academy of Dramatic Art. Appeared in many films, initially as a leading man, then in character roles and occasional bits. Consistently billed as Jason Robards, as his more famous son, Jason Robards, did not come into fame until the end of the elder Robards' career. Only referred to as Jason Robards Sr. in retrospect. Died in 1963, having lived to see his namesake son and grandson (Jason Robards III) carry on the family acting tradition.

Richard Barthelmess was born into a theatrical family in which his mother was an actress. While attending Trinity College in Connecticut, he began appearing in stage productions. While on vacation in 1916, a friend of his mother, actress Alla Nazimova, offered him a part in War Brides (1916), and Richard never returned to college. He appeared in a number of films before signing a contract with D.W. Griffith in 1919. Griffith put Richard into Broken Blossoms (1919) with Lillian Gish which made him a star. He had an uncanny ability to become the characters he played. The next year, he was again teamed with Lillian in Way Down East (1920). This film would become the standard for many movies in the future. Best remembered is the river scene in which Richard jumps over the ice floes in search of Lillian as she heads towards the falls. He formed Inspiration Pictures to make Tol'able David (1921) and gave one of his best performances as a lad who saves the U.S. mail from the outlaws. He remained popular throughout the twenties and became one of the biggest stars at First National Pictures. He received Academy Award nominations for The Patent Leather Kid (1927) and The Noose (1928). Sound was not a medium that would embrace Richard. He did make a number of talkies in the first few years of sound, but his acting technique was not well suited for sound and the parts began to get smaller. With his career over by the mid-30s, but he came back with a fine performance in Howard Hawks's Only Angels Have Wings (1939). Richard joined the Navy Reserve in 1942, and when the war ended he retired to Long Island and lived off his real estate investments.

The fourth and youngest child of Horace and Robina Kelly, Jean Brooks spent her early years in her native Texas before relocating to Costa Rica with her mother after her father's death. Her time in Costa Rica enabled her to become fluent in Spanish, and she began her professional career as a singer with Enric Madriguera and Orchestra in New York City. She had a small role in the New York City-filmed The Crime of Doctor Crespi (1935) and the second lead in a state play, "Name Your Poison" (1938), with Lenore Ulric. She was signed by an independent film production company that had gone under by the time she got to Hollywood. She spent several years at Universal as a leading lady in "B" pictures, including several Johnny Mack Brown westerns, but her option was dropped in late 1941. By this time she had married writer (later director) Richard Brooks and, with a certain Broadway hoofer having just signed at MGM, dropped the Kelly and became Jean Brooks. She signed with RKO, where film buffs know her for her three appearances for cult producer Val Lewton, particularly her stunning performance as a haunted devil worshiper in The Seventh Victim (1943).

Her clipped delivery and intense, forceful acting style made her a promising bet for stardom, but RKO lost interest in her by mid-'44 and her roles got gradually smaller until she was dropped in 1946. She and Brooks divorced (his later studio biographies omitted her name as one of his ex-wives). For many years she was listed as a "Lost Player" championed in several magazine articles by writer Doug McClelland. She was eventually located in San Francisco, where she had moved after her film career petered out, and was employed as a classified ad solicitor on the "San Francisco Examiner" newspaper. She had married a printer named Thomas Leddy. Her death at the Kaiser Hospital in Richmond, California, in 1963 of complications resulting from cirrhosis marked a sad ending for a stylish and talented performer who didn't get the breaks she deserved, both personally and professionally.

Born in 1879, Clem Bevans spent most of his performing career on the stage. First appearing in 1900 in a vaudeville act with Grace Emmett as a boy and girl act, he would move on to burlesque and eventually make the move to Broadway and even opera productions. His first screen appearance did not come until 1935, when at the age of 55 he was cast as toothless old codger Doc Wiggins in Way Down East (1935). So good was his performance that he would become pigeonholed into "old codger" roles for his entire movie career. Occasionally he would be given the opportunity to play something out of character, such as a voyeuristic millionaire with a fetish for women's knees in Happy Go Lucky (1943) and a Nazi spy in Alfred Hitchcock's Saboteur (1942), but he would go on to play variations of his "old coot" role until the day he died. Clem Bevans died at the Motion Picture & Television Country House and Hospital.

Gordon Jones was born on 5 April 1911 in Alden, Iowa, USA. He was an actor, known for Flying Tigers (1942), The Green Hornet (1940) and My Sister Eileen (1942). He was married to Lucile Van Winkle. He died on 20 June 1963 in Tarzana, Los Angeles, California, USA.

Jean Cocteau was one of the most multi-talented artists of the 20th century. In addition to being a director, he was a poet, novelist, painter, playwright, set designer, and actor. He began writing at 10 and was a published poet by age 16. He collaborated with the "Russian Ballet" company of Sergei Diaghilev, and was active in many art movements, but always remained a poet at heart. His films reflect this fact. Cocteau was also a homosexual, and made no attempt to hide it. His favorite actor was his close friend Jean Marais, who appeared in almost every one of his films. Cocteau made about twelve films in his career, all rich with symbolism and surreal imagery. He is now regarded as one of the most important avant-garde directors in cinema.

A character actor and veteran of hundreds of Hollywood westerns, Tom London seemed to be born in the saddle. As a trick rider he performed riding specialties in a number of films. His career started in the teens and through the 1920s he alternated between good guy and bad. He made appearances in non-westerns such as All Quiet on the Western Front (1930) and Platinum Blonde (1931), but westerns were his mainstay. When the "B" western disappeared in the mid-'50s, so did his career. He appeared in only a handful of film for the rest of the decade.

C.S. Lewis was born in 1898 and brought up in a very strict, religious household. While he was quite young, his mother died of cancer but the "stiff upper lip" in favour at the time meant he wasn't allowed to grieve. He became an Oxford don and led a sheltered life. He seriously questioned his religious beliefs and finally left the church. The death of his mother is reflected in "The Magician's Nephew". When an American fan Joy Gresham, came to visit him, they found they enjoyed each others company and she stayed. She was dying of cancer and he was afraid to express his emotions until she convinced him that it was OK to "allow" himself to love her even though it would shortly lead to heartbreak when she died. This was a great writer who dared to examine his emotions and beliefs and record them for the rest of us. Most famous for his childrens book (The Narnian Chronicles) he also wrote a very interesting Science Fiction Trilogy and some of the most intriguing Christian literature. He finally resolved his crisis of faith after tearing apart and fully examining the Christian (and other) religion and re-embraced Christianity.

Stalwart, durable Monte Blue, a romantic leading man of the silent days, was born January 11, 1887, as Gerard Monte Blue (some sources indicate 1890, but his mother's application for his admission to the Soldier's and Sailor's Orphan's Home lists his birth date as January 11, 1887). Various sources have reported his first name as George or Gerald, but, again, in his mother's application, it is spelled Gerard. His father was killed in a railroad accident when Monte was eight and his mother could not support four children. He was admitted (along with another brother, Morris) to the orphanage at that time. There he built up his physique playing football. At one time or another the able-bodied gent was a railroader, a fireman, a coal miner, a cowpuncher, a ranch hand, a circus rider, a lumberjack and, finally, trekking west, he became a day laborer for D.W. Griffith's Biograph Studios.

Blue eventually became a stuntman for Griffith and an extra in The Birth of a Nation (1915), which was his first film. Griffith took him in and made him an assistant on his classic epic Intolerance (1916), where he earned another small part. Gradually moving to support roles for both Griffith and Cecil B. DeMille, Blue earned his breakthrough role as "Danton" in Griffith's Orphans of the Storm (1921) with sisters Lillian Gish and Dorothy Gish. He rose to stardom as a rugged romantic lead opposite Hollywood's top silent stars, among them Gloria Swanson, Clara Bow and Norma Shearer. He made a relatively easy transition into talkies as he had a fine, cultivated voice, but, at the same time, lost most of his investments when the stock market crashed in 1929. By the 1930s the aging star had moved back into small, often unbilled parts, continuously employed, however, by his old friend DeMille and Warner Bros. At the end of his life he was working as an advance man for the Hamid-Morton Circus in Milwaukee. He died of a coronary attack complicated by influenza in 1963.

When one thinks of Edith Piaf, one thinks of love, sorrow and beautiful music. One did not breathe without the other two. Born in Paris practically on the streets on December 19, 1915, she struggled from day one, the daughter of street performers. The mother, a singer, eventually abandoned both Edith and her father for a solo career.

Piaf spent her youth entertaining passers-by, receiving little formal education in the process. She often accompanied her father's acrobat street act with her singing and at various times was forced to live with various relatives, in alleys or in cheap hotels. An aborted love affair left her with a baby girl at age 17, but little Marcelle died of meningitis at 2 years old. Devastated, Piaf returned to the streets she knew, now performing solo.

Her fortunes finally changed when an impresario, Louis Leplee, mesmerized by what he heard, offered the starving but talented urchin a contract. He alone was responsible for taking her off the streets at age 20 and changing her name from Edith Gassion to "La Mome Piaf" (or "Kid Sparrow"). Piaf grew in status entertaining in elegant cafés and cabarets and became a singing sensation amid the chic French society with her throbbing vocals and raw, emotional power.

From 1936, Piaf recorded many albums and eventually became one of the highest paid stars in the world. She was first embroiled in scandal when her mentor, Leplee, was murdered and she was held for questioning. She managed to survive the messy affair and carry on while her ever-growing society circle now began to include such elite members as writer/director Jean Cocteau. Piaf also took to writing and composing around this time; one of the over 80 songs she wrote included her signature standard, "La vie en rose." Although she appeared sporadically in films, it was live audiences that sustained her.

Piaf later toured the United States to branch out internationally. America was slow to accept the melodramatic Piaf but she persevered and eventually won legions of fans. She also continued a series of affairs with the likes of actor Paul Meurisse, composer Henri Contet and, most notably, boxing champion Marcel Cerdan. The latter's death in a 1949 plane crash left Piaf broken and devastated. Many claim this was the beginning of her downfall.

Piaf had a life-long habit of involving herself heart and soul in the launching of her lovers' careers. Over the years this would include Yves Montand and Eddie Constantine. Two serious car accidents suffered in 1951 led to a morphine and alcohol addiction that left Piaf's life skidding out of control despite a potentially happy marriage in 1952 to actor Jacques Pills. Though slowly crippled by severe arthritis, a series of spectacular comebacks in concert and recordings would follow over the years but her health would slowly waste her away.

Piaf's last appearance was at the Paris Olympia, racked and hunched over with pain and barely able to stand. Her last recorded song was "L'homme de Berlin" in 1963, the year of her death. She died in poverty on the same day as her friend Cocteau and at the age of 47, the same age as her equally tortured American counterpart, Judy Garland. Piaf left many debts for her second husband (and protégé) Theo Sarapo, who was twenty years younger (he died in 1970, at age 34). Piaf's funeral was massive yet, because of her lifestyle, was forbidden a Mass. It was the only time since WWII that Parisian traffic was completely stopped. A museum was dedicated in her honor. Piaf remains the epitome of the French singer in heart, soul, style and passion. For many devotees, Piaf IS France.

Scots actress, long in the United States, who specialized in housekeepers and mothers, most notably the housekeeper Mrs. Hudson in the Sherlock Holmes series of movies of the Thirties and Forties. She was born Mary Gilmour, the daughter of a Glasgow wire weaver. She worked as a dressmaker before finding work on the stage. Joining a company bound for an American tour, she came to the U.S. in her twenties, apparently making a few appearances on Broadway in small roles, but primarily touring in stock. With her mother Mary and daughter (also named Mary), she arrived in Los Angeles in the mid-Twenties and began playing variations on the roles she would spend her career doing. She became friends with John Ford while making Hangman's House (1928) and made seven more films for him. In 1939, she took on her most famous role as Sherlock Holmes's housekeeper and played the role in ten films and numerous radio plays. She was a charter member of the Hollywood Canteen, entertaining servicemen throughout the Second World War. On the radio show "Those We Love," she played the regular role of Mrs. Emmett. She entered retirement just as television reshaped the entertainment industry, making only a single appearance in that medium. Very active in the Daughters of Scotia auxiliary of the Order of Scottish Clans, she lived out her final years in Pasadena, California with her daughter and grandson. She died after a long illness on August 23, 1963.