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Lee J. Cobb, one of the premier character actors in American film for three decades in the post-World War II period, was born Leo Jacoby in New York City's Lower East Side on December 8, 1911. The son of a Jewish newspaper editor, young Leo was a child prodigy in music, mastering the violin and the harmonica. Any hopes of a career as a violin virtuoso were dashed when he broke his wrist, but his talent on the harmonica may have brought him his first professional success. At the age of 16 or 17 he ran away from home to Hollywood to try to break into motion pictures as an actor. He reportedly made his film debut as a member of Borrah Minevitch and His Harmonica Rascals (their first known movie appearance was in the 1929 two-reeler Boyhood Days), but that cannot be substantiated. However, it's known that after Leo was unable to find work he returned to New York City, where he attended New York University at night to study accounting while acting in radio dramas during the day.

An older Cobb tried his luck in California once more, making his debut as a professional stage actor at the Pasadena Playhouse in 1931. After again returning to his native New York, he made his Broadway debut as a saloonkeeper in a dramatization of Fyodor Dostoevsky's Crime and Punishment, but it closed after 15 performances (later in his career, Dostoevsky would prove more of a charm, with Cobb's role as Father Karamazov in The Brothers Karamazov (1958) garnering him his second Oscar nomination),

Cobb joined the politically progressive Group Theater in 1935 and made a name for himself in Clifford Odets' politically liberal dramas Waiting for Lefty and Til the Day I Die, appearing in both plays that year in casts that included Elia Kazan, who later became famous as a film director. Cobb also appeared in the 1937 Group Theater production of Odets' Golden Boy, playing the role of Mr. Carp, in a cast that also included Kazan, Julius Garfinkle (later better known under his stage name of John Garfield), and Martin Ritt, all of whom later came under the scrutiny of the House Un-American Activities Committee during the heyday of the McCarthy Red Scare hysteria more than a decade later. Cobb took over the role of Mr. Bonaparte, the protagonist's father, in the 1939 film version of the play, despite the fact that he was not yet 30 years old. The role of a patriarch suited him, and he'd play many more in his film career.

It was as a different kind of patriarch that he scored his greatest success. Cobb achieved immortality by giving life to the character of Willy Loman in the original 1949 Broadway production of Arthur Miller's Death of a Salesman. His performance was a towering achievement that ranks with such performances as Edwin Booth as Richard III and John Barrymore as Hamlet in the annals of the American theater. Cobb later won an Emmy nomination as Willy when he played the role in a made-for-TV movie of the play (Death of a Salesman (1966)). Miller said that he wrote the role with Cobb in mind.

Before triumphing as Miller's Salesman, Cobb had appeared on Broadway only a handful of times in the 1940s, including in Ernest Hemingway's The Fifth Column (1940), Odets' "Clash by Night" (1942) and the US Army Air Force's Winged Victory (1943-44). Later he reprised the role of Joe Bonaparte's father in the 1952 revival of Golden Boy opposite Garfield as his son, and appeared the following year in The Emperor's Clothes. His final Broadway appearance was as King Lear in the Repertory Theatre of Lincoln Center's 1968 production of Shakespeare's play.

Aside from his possible late 1920s movie debut and his 1934 appearance in the western The Vanishing Shadow (1934), Cobb's film career proper began in 1937 with the westerns North of the Rio Grande (1937) (in which he was billed as Lee Colt) and Rustlers' Valley (1937) and spanned nearly 40 years until his death. After a hiatus while serving in the Army Air Force during World War II, Cobb's movie career resumed in 1946. He continued to play major supporting roles in prestigious A-list pictures. His movie career reached its artistic peak in the 1950s, when he was twice nominated for Best Supporting Actor Academy Awards, for his role as Johnny Friendly in On the Waterfront (1954) and as the father in The Brothers Karamazov (1958). Other memorable supporting roles in the 1950s included the sagacious Judge Bernstein in The Man in the Gray Flannel Suit (1956), as the probing psychiatrist Dr. Luther in The Three Faces of Eve (1957) and as the volatile Juror #3 in 12 Angry Men (1957).

It was in the 1950s that Cobb achieved the sort of fame that most artists dreaded: he was called before the House Un-American Activities Committee on charges that he was or had been a Communist. The charges were rooted in Cobb's membership in the Group Theater in the 1930s. Other Group Theater members already investigated by HUAC included Clifford Odets and Elia Kazan, both of whom provided friendly testimony before the committee, and John Garfield, who did not.

Cobb's own persecution by HUAC had already caused a nervous breakdown in his wife, and he decided to appear as a friendly witness in order to preserve her sanity and his career, by bringing the inquisition to a halt. Appearing before the committee in 1953, he named names and thus saved his career. Ironically, he would win his first Oscar nomination in On the Waterfront (1954) directed and written by fellow HUAC informers Kazan and Budd Schulberg. The film can be seen as a stalwart defense of informing, as epitomized by the character Terry Malloy's testimony before a Congressional committee investigating racketeering on the waterfront.

Major films in which Cobb appeared after reaching his career plateau include Otto Preminger's adaptation of Leon Uris' ode to the birth of Israel, Exodus (1960); the Cinerama spectacle How the West Was Won (1962); the James Coburn spy spoofs, Our Man Flint (1966) and In Like Flint (1967); Clint Eastwood's first detective film, Coogan's Bluff (1968); and legendary director William Wyler's last film, The Liberation of L.B. Jones (1970).

In addition to his frequent supporting roles in film, Cobb often appeared on television. He played Judge Henry Garth on The Virginian (1962) from 1962-66 and also had a regular role as the attorney David Barrett on The Young Lawyers (1969) from 1970-71. Cobb also appeared in made-for-TV movies and made frequent guest appearances on other TV shows. His last major Hollywood movie role was that of police detective Lt. Kinderman in The Exorcist (1973).

Lee J. Cobb died of a heart attack in Woodland Hills, California, on February 11, 1976, at the age of 64. He is buried in Mount Sinai Memorial Park Cemetery in Los Angeles, California. Though he will long be remembered for many of his successful supporting performances in the movies, it is as the stage's first Willy Loman in which he achieved immortality as an actor. Bearing in mind that the role was written for him, it is through Willy that he will continue to have an influence on American drama far into the future, for as long as Death of a Salesman is revived.

John Kevin Barry Coughlin was born in Inwood, Manhattan, New York. His older sister Joan Marie Coughlin Gaudet (25 Nov. 1938 - 27 Feb. 2022) was a former nun with the Sacred Heart of Mary. Their parents were John Joseph Coughlin (1909 - 1966) and Marguerite O'Brien (1915-2008). They lived at 45 Sickles Street in Manhattan until about 1960 when the family moved to Rye, New York.

Kevin had been a Conover model since age 2. His television debut was on his seventh birthday, on December 12, 1952, on the memorable show "Mama", where he would stay as a regular for four years. You can see 19 episodes with Kevin (including his debut) and several more without him at the Museum of Television and Radio in Los Angeles and New York. "Mama" is definitely one of the best family shows ever made. The acting is of theater caliber. In her autobiography Peggy Wood writes that in the eight years she worked on the show, only on three occasions did someone forget a line.

In 1956 Kevin starred in his first film, the highly controversial drama "Storm Center" (filmed in Santa Rosa, CA). Unfortunately, it is not available on video. Bette Davis thought it a failure, but it is quite good and relevant. Kevin appeared in many TV dramas, of which only "A Trip to Czardis" and "The Ballad of Huckleberry Finn" can be seen at the Museum of Television and Radio. Kevin attended Mace School. After starring in two more films, the hilarious "Happy Anniversary" and the bold classic "The Defiant Ones", his career seemed to fizzle. There are few roles in the early sixties.

From about 1963 until 1967 Kevin attended Northwestern University in Evanston, IL, majoring in theater. In the late sixties he moved to Hollywood, appearing in several youth culture movies and marrying Pamela Elaine. In 1972 he started a production company with David Ladd: COLADD Productions. He also produced and hosted a TV talk-show, "The Age of Aquarius". His film and television career seemed to end suddenly after he starred in the comedy "The Gay Deceivers" (1969). It made a lot of money, and is available on video and DVD. In 1999 it was shown at the Turin Film Festival. Yet this film seemed to doom Kevin's chances. His last known screen appearance is a pathetic, small role on "Gunsmoke" in 1975 "Hard Labor". A newspaper mentions something about Kevin working in European films in the seventies, but there is no confirmation of it.

On January 10, 1976, at 1:45 a.m. as Kevin was cleaning his windshield on Ventura Boulevard 1500 feet North of Whitsett, he was hit by a speeding car. Kevin's wife Marcia Kandell witnessed the tragedy. Thus ended the life of a very talented, highly intelligent, optimistic and promising human being. Kevin had a handicap that made walking difficult: clubfeet. He was not embarrassed about it, and appeared barefoot in "The Ballad of Huckleberry Finn" (1960). It took courage to give him that role, which turned out to be one of his most memorable performances. Grave location: Gate of Heaven Cemetery, Hawthorne, New York, Section 44, plot 604, grave 10. His grave has a simple, poignant inscription: "BELOVED BY ALL".

Salvatore (Sal) Mineo Jr. was born to Josephine and Sal Sr. (a casket maker), who emigrated to the U.S. from Sicily. His siblings were Michael, Victor and Sarina. Sal was thrown out of parochial school and, by age eight, was a member of a street gang in a tough Bronx neighborhood. His mother enrolled him in dancing school and, after being arrested for robbery at age ten, he was given a choice of juvenile confinement or professional acting school.

He soon appeared in the theatrical production "The Rose Tattoo" with Maureen Stapleton and Eli Wallach and as the young prince in "The King and I" with Gertrude Lawrence and Yul Brynner. At age 16 he played a much younger boy in Six Bridges to Cross (1955) with Tony Curtis and later that same year played Plato in James Dean's Rebel Without a Cause (1955). He was nominated for Best Supporting Actor for his performance in this film and again for his role as Dov Landau in Exodus (1960).

Expanding his repertoire, Mineo returned to the theatre to direct and star in the play "Fortune and Men's Eyes" with successful runs in both New York and Los Angeles. In the late 1960s and 1970s he continued to work steadily in supporting roles on TV and in film, including Dr. Milo in Escape from the Planet of the Apes (1971) and Harry O (1973). In 1975 he returned to the stage in the San Francisco hit production of "P.S. Your Cat Is Dead". Preparing to open the play in Los Angeles in 1976 with Keir Dullea, he returned home from rehearsal the evening of February 12th when he was attacked and stabbed to death by a stranger. A drifter named Lionel Ray Williams was arrested for the crime and, after trial in 1979, convicted and sentenced to life in prison for the murder, but was paroled in 1990. Although taken away far too soon, the memory of Sal Mineo continues to live on through the large body of TV and film work that he left behind.

Liam Dunn was born in New Jersey in 1916, went to regular high school and entered a small acting school where he constantly acted in plays. Dunn was considered for his first movie role in 1968, but turned it down to work on T.V. Dunn's first big break came in 1972 for his character Judge Maxwell in the film What's Up, Doc? (1972). On the set Mel Brooks was looking for actors to form a stock company, and he recruited Dunn and Madeline Kahn. Dunn is forever remembered for the character Rev. Johnson in Blazing Saddles (1974). Dunn's other works include Young Frankenstein (1974) and Silent Movie (1976). After "Silent Movie", Dunn, now weak and thin was diagnosed with emphysema. Liam Dunn died in 1976 at age 59.

Actor. Jack Cassidy, by his own design, defied mere definition from the day he was born in Richmond Hills, New York in 1927 until his tragic death in 1976. An actor, singer, writer, designer - the consummate showman and irrefutable creative entity - his life never followed a simple path nor did it ever lead quite where expected. Yet, in the end, his impact on the entertainment community has been unmistakable - and unforgettable. The youngest of five children born to immigrant parents, Jack Cassidy's story is one of success and inspiration. By the time he was sixteen, he'd worked fifteen jobs ranging from busboy to dishwasher to ice truck driver. His uncle, a renowned circus contortionist, showed him the show business ropes and at the tender age of sixteen, Jack stepped into the chorus of "Something for the Boys". After that point, Jack's acting talent and rich baritone voice took him from show to show. He graced the stage in several productions before landing his first lead role in "Wish You Were Here" in 1953. The reviews were outstanding and his career started to flourish including the role of Johnny O'Sullivan in "Sandhog." The role of an Irish immigrant would hit close to home and would be one of his favorites. His life had also been enriched with his marriage to dancer-choreographer Evelyn Ward in 1948 and the birth of their son David in 1950. Evelyn and Jack had met while working on a show together and their wedding was attended by a who's-who of The Great White Way. Jack started to pepper his career with appearances not only on stage but on various television shows, sharing his talent with a broader audience. He made several appearances on "Toast of the Town" and "Lux Video Theatre" and also surfaced on episodes of "The United Steel Hour," "Richard Diamond, Private Detective" and "Gunsmoke." He would even have his own television show in Great Britain. His television presence would only grow over the next 20 years reflecting not only his career but his notoriety and prominence in the industry. In 1955, Jack was cast in a State Department European tour of the Rogers and Hammerstein musical "Oklahoma!" with a young actress named Shirley Jones. Legally separated from Evelyn, Jack pursued Shirley and after their first date in Paris, he declared his intent to marry her - which he did between performances of "The Beggar's Opera" in 1956. Their marriage would be blessed with the births of three sons: Shaun, Patrick and Ryan. All four of his sons would carry on Jack's legacy in their own way - each with critically acclaimed careers in theater, film and television. Jack and Shirley would collaborate in other ways, appearing together on Broadway in "Maggie Flynn" in 1968 (Jack would receive a Tony nomination for his portrayal of "Phineas"), recording a number of albums including "Love From Hollywood" and "Brigadoon" and touring with the nightclub act "The Marriage Band" which was created by Jack and inspired by their relationship. As the country transformed through the 1960s, Jack Cassidy's career blossomed in all respects. In the theater, he took home the Tony for Best Featured Actor in 1963 for "She Loves Me" and followed that with Tony nominations for his work in "Fade Out, Fade In," "It's a Bird...It's a Plane...It's Superman" and "Maggie Flynn" and is one of the most nominated actors in Tony history. The West Coast beckoned to him and Jack started to truly establish himself in television. Whether it was a brilliant dramatic performance on "Alfred Hitchcock Presents,", "77 Sunset Strip," "Coronet Blue," "Lock Up," "Maverick" or "Wagon Train," a dazzling musical performance on "The Bell Telephone Hour" or "The Garry Moore Show" or a delightful comedic performance on "Bewitched" or "That Girl" - Jack was finally allowed to showcase his versatility and range to audiences unable to see him set foot on a stage. He even started his movie career in films such as "Look in Any Window", "The Chapman Report", "FBI Code 98" and the animated "Mr. Magoo's Christmas Carol" in 1962. Often considered "larger than life" himself - even by co-stars Paula Prentiss and Richard Benjamin - Jack brought life to the character of Oscar North in the 1968 series "He & She" to the delight of both audiences and critics. His delivery of the classic "trapped in an elevator" routine has never been matched and his superior flair and uproarious comic timing would garner an Emmy nomination in 1969. His television presence would swell in the 1970s as he became a staple of both dramatic programs and game shows. Indeed it was nearly impossible to turn on the television and not see Jack's brilliant smile or hear his infectious laughter. He frequented "Columbo" and remains one of the more popular guest stars in the show's history. Other memorable performances include appearances in "Barnaby Jones," "Matt Helm," "McCloud," "Hawaii Five-O," "Alias Smith and Jones" and "Bonanza" as well as comedic interludes in "Love, American Style", "The Carol Burnett Show", "Laugh-In" and "The Mary Tyler Moore Show." His career expanded into the television movie genre with "Your Money or Your Wife," "George M!," "June Moon," and "The Phantom of Hollywood." Yet it was his depiction of attorney Otis Baker in "The Andersonville Trial" that again brought him an Emmy nomination and critical acclaim. Jack Cassidy's film career in the 1970s was filled with wonderful, quirky roles in films such as "Bunny O'Hare" with Bette Davis and Ernest Borgnine, the Clint Eastwood action-thriller "The Eiger Sanction", "The Cockeyed Cowboys of Calico County" with Mickey Rooney and his brilliant portrayal of the legendary John Barrymore in "W.C. Fields and Me". However, he craved the solid, dramatic roles where he could truly prove his abilities on a larger scale. Tragically, he had just started receiving these offers right before his death in 1976. Like the character he'd created on "He & She," Jack Cassidy was undeniably larger than life. His notorious sense of humor made him the life of the party from private gatherings to public charity galas. It is no surprise that his friends and fans read like a roster of Hollywood's top talent. Among them, Dick Van Dyke, Jack Lemmon and Dick Van Patten have counted themselves as admirers of his talent. Jack was the superlative example of the classic leading man with his charisma, dashing grin and sparkling eyes who conducted his life with nothing less than panache and style. His golden baritone voice will forever set him apart. His talent will never be matched. His wit and humor warm the memories of the friends and family he left behind. He was a creative powerhouse who was denied the time necessary to fully express the full spectrum of his talents - some of which are only now revealed through the talent and success of his sons in many facets of the industry. Despite the brilliance of his career, he had only started to tap into the expanse of his potential. It was a life cut short and a life that deserves to be celebrated

Fritz Lang was born in Vienna, Austria, in 1890. His father managed a construction company. His mother, Pauline Schlesinger, was Jewish but converted to Catholicism when Lang was ten. After high school, he enrolled briefly at the Technische Hochschule Wien and then started to train as a painter. From 1910 to 1914, he traveled in Europe, and he would later claim, also in Asia and North Africa. He studied painting in Paris from 1913-14. At the start of World War I, he returned to Vienna, enlisting in the army in January 1915. Severely wounded in June 1916, he wrote some scenarios for films while convalescing. In early 1918, he was sent home shell-shocked and acted briefly in Viennese theater before accepting a job as a writer at Erich Pommer's production company in Berlin, Decla. In Berlin, Lang worked briefly as a writer and then as a director, at Ufa and then for Nero-Film, owned by the American Seymour Nebenzal. In 1920, he began a relationship with actress and writer Thea von Harbou (1889-1954), who wrote with him the scripts for his most celebrated films: Dr. Mabuse, the Gambler (1922), Die Nibelungen: Siegfried (1924), Metropolis (1927) and M (1931) (credited to von Harbou alone). They married in 1922 and divorced in 1933. In that year, Nazi propaganda minister Joseph Goebbels offered Lang the job of head of the German Cinema Institute. Lang--who was an anti-Nazi mainly because of his Catholic background--did not accept the position (it was later offered to and accepted by filmmaker Leni Riefenstahl) and, after secretly sending most of his money out of the country, fled Germany to Paris. After about a year in Paris, Lang moved to the United States in mid-1934, initially under contract to MGM. Over the next 20 years, he directed numerous American films. In the 1950s, in part because the film industry was in economic decline and also because of Lang's long-standing reputation for being difficult with, and abusive to, actors, he found it increasingly hard to get work. At the end of the 1950s, he traveled to Germany and made what turned out to be his final three films there, none of which were well received.

In 1964, nearly blind, he was chosen to be president of the jury at the Cannes Film Festival. He was an avid collector of primitive art and habitually wore a monocle, an affectation he picked up during his early days in Vienna. After his divorce from von Harbou, he had relationships with many other women, but from about 1931 to his death in 1976, he was close to Lily Latte, who helped him in many ways.

Anissa Jones was an American child actress of Lebanese descent. She is primarily remembered for the role of the orphan girl Buffy Davis in the hit sitcom "Family Affair" (1966-1971). The series lasted for 5 seasons and 138 episodes. Jones' career rapidly declined following the end of the sitcom. She died due to "combined drug intoxication" when only 18-years-old.

In 1958, Jones was born in West Lafayette, Indiana. West Lafayette is a college town, primarily known as the home of Purdue University. Jones' father was the engineer John Paul Jones, who was at that time a faculty board member at Purdue University. Jones' mother was Mary Paula Tweel, a Lebanese-American zoology student.

Jones spend the first few years of her life in Charleston, West Virginia, where her family had settled. Around 1963, the Jones family moved to Playa Del Rey, California. Her father had accepted a job in aerospace engineering in California, and was eager to relocate to the West Coast. The marriage of Jones's parents soon deteriorated, and they were already divorced by 1965.

In 1964, Jones made her debut at television commercials. She was only 6-years-old at the time. She begun pursuing acting roles in 1965. She had her big break in 1966, when cast in a co-starring role in the new sitcom "Family Affair". She was 8-years-old at the time, but she was cast in the role of a 6-year-old. Jones was unusually short for her age, and she reportedly looked younger than her actual age.

Jones soon became a popular child actress, and she made several guest appearances in other television series. She served as a guest host in the variety show "The Hollywood Palace",. She was also interviewed in the talk shows "The Mike Douglas Show" and "The Merv Griffin Show". She made her film debut in 1969, with a small part in the drama film "The Trouble with Girls". The film's main star was Elvis Presley, in one of his last acting roles. The film depicted the murder of a pharmacist in Iowa, and the efforts of a band manager to profit from the crime.

"Family Affair" ended in 1971, leaving Jones without a regular role for the first time in her acting career. Despite auditioning for various roles over the following years, she was nearly always rejected. Her acting career ended at the age of 12. In 1976, Jones was still living in California and had a regular boyfriend.

On August 27, 1976, Jones went partying with her friends in the beach town of Oceanside, California. The following day, Jones was found dead at the home of Helen Hennessy, a close friend. An autopsy revealed that she had consumed a combination of cocaine, PCP, Quaalude, and Seconal. A small vial of blue liquid was found next to her corpse, but the police could not determine what it was. Jones was given a small, private funeral service. Her remains were cremated, and her ashes were scattered over the Pacific Ocean.

Following Jones' death, Dr. Don Carlos Moshos was arrested for illegally prescribing Seconal to Jones. Moshos died in late December 1976, while still awaiting his trial. In 1979, a court decision forced Moshos' estate to make compensations payments to Jones' surviving relatives. Jones' last surviving relative (her mother) died in January 2012. Jones is long gone, but is still fondly remembered for her sitcom role.

The middle of seven children, she was named, not for the heroine of "As You Like It" but for the S.S. Rosalind on which her parents had sailed, at the suggestion of her father, a successful lawyer.

After receiving a Catholic school education, she went to the American Academy of Dramatic Art in New York, having convinced her mother that she intended to teach acting. In 1934, with some stock company work and a little Broadway experience, she was tested and signed by Universal. Simultaneously, MGM tested her and made her a better offer. When she plead ignorance of Hollywood (while wearing her worst-fitting clothes), Universal released her and she signed with MGM for seven years.

For some time she was used in secondary roles and as a replacement threat to limit Myrna Loy's salary demands. Knowing she was right for comedy, she tested five times for the role of Sylvia Fowler in The Women (1939). George Cukor told her to "play her as a freak". She did and got the part. Her "boss lady" roles began with the part of reporter Hildy Johnson in His Girl Friday (1940), through whose male lead, Cary Grant, she met her future husband, Grant's house-guest at the time.

In her forties, she returned to the stage, touring "Bell, Book and Candle" in 1951 and winning a Tony Award for "Wonderful Town" in 1953. Columbia, worried the public would think she had the female lead in Picnic (1955), billed her "co-starring Rosalind Russell as Rosemary." She refused to be placed in the Best Supporting Actress category when Columbia Pictures wanted to promote her for an Academy Award nomination for her role in Picnic (1955). Many felt she would have won had she cooperated. "Auntie Mame" kept her on Broadway for two years followed by the movie version.

Oscar nominations: My Sister Eileen (1942), Sister Kenny (1946), Mourning Becomes Electra (1947), and Auntie Mame (1958). In 1972, she received the Jean Hersholt Humanitarian Award for contributions to charity.

Heavyweight Hungarian-born character actor Oscar Beregi Jr.'s best performances were on the small screen, usually as Eastern European or Russian heavies. His stock-in-trade villainy was of a cultured or psychological, rather than physical nature, urbane and intellectual, yet inevitably sinister. His father, matinee idol Oscar Beregi Sr., had appeared on the Hungarian and German stage in Shakespearean roles, as well as acting in films, since 1919. Both Beregis left Hungary in 1939, the father settling in the United States, while the son ran a restaurant in Chile. It took several years for the younger Beregi to be granted a visa to enter the U.S., and then only through the intervention of then-U.S. Senator Lyndon B. Johnson.

When Beregi finally arrived in America, he spoke little English and worked as a salesman for several years, learning the language, before re-entering the acting profession well into middle age. On the big screen, he was largely restricted to small supporting roles. However, Beregi made the most of the meatier roles offered him in television, such as mob boss Joe Kulak (a character possibly based on real-life mobster Jake Guzik) in eight episodes of The Untouchables (1959). He was also impressively commanding as the scientific criminal mastermind Farwell in Rod Serling's The Rip Van Winkle Caper (1961) and, in the same series, as former SS concentration camp commandant Guenther Lutze, driven to insanity by the ghosts of his former victims in Deaths-Head Revisited (1961). He was also effective in Middle Eastern intrigue (The Third Man (1959)) and in parodying his evil personae in I'm Only Human (1966), Tequila Mockingbird (1969), and Young Frankenstein (1974).

In his spare time, he was a successful breeder of Komondors, a breed of large, white Hungarian sheep dog, considered a living treasure in their native country.

Agatha was born as "Agatha Mary Clarissa Miller" in 1890 to Frederick Alvah Miller and Clara Boehmer. Agatha was of American and British descent, her father being American and her mother British. Her father was a relatively affluent stockbroker. Agatha received home education from early childhood to when she turned 12-years-old in 1902. Her parents taught her how to read, write, perform arithmetic, and play music. Her father died in 1901. Agatha was sent to a girl's school in Torquay, Devon, where she studied from 1902 to 1905. She continued her education in Paris, France from 1905 to 1910. She then returned to her surviving family in England.

As a young adult, Agatha aspired to be a writer and produced a number of unpublished short stories and novels. She submitted them to various publishers and literary magazines, but they were all rejected. Several of these unpublished works were later revised into more successful ones. While still in this point of her life, Agatha sought advise from professional writer Eden Phillpotts (1862-1960). Meanwhile she was searching for a suitable husband and in 1913 accepted a marriage proposal from military officer and pilot-in-training Archibald "Archie" Christie. They married in late 1914. Her married name became "Agatha Christie" and she used it for most of her literary works, including ones created decades following the end of her first marriage.

During World War I, Archie Christie was send to fight in the war and Agatha joined the Voluntary Aid Detachment, a British voluntary unit providing field nursing services. She performed unpaid work as a volunteer nurse from 1914 to 1916. Then she was promoted to "apothecaries' assistant" (dispenser), a position which earned her a small salary until the end of the war. She ended her service in September, 1918.

Agatha wrote "The Mysterious Affair at Styles", her debut novel ,in 1916, but was unable to find a publisher for it until 1920. The novel introduced her famous character Hercule Poirot and his supporting characters Inspector Japp and Arthur Hastings. The novel is set in World War I and is one of the few of her works which are connected to a specific time period.

Following the end of World War I and their retirement from military life, Agatha and Archie Christie moved to London and settled into civilian life. Their only child Rosalind Margaret Clarissa Christie (1919-2004) was born early in the marriage. Agatha's debut novel was first published in 1920 and turned out to be a hit. It was soon followed by the successful novels "The Secret Adversary" (1922) and "Murder on the Links" (1923) and various short stories. Agatha soon became a celebrated writer.

In 1926, Archie Christie announced to Agatha that he had a mistress and that he wanted a divorce. Agatha took it hard and mysteriously disappeared for a period of 10 days. After an extensive manhunt and much publicity, she was found living under a false name in Yorkshire. She had assumed the last name of Archie's mistress and claimed to have no memory of how she ended up there. The doctors who attended to her determined that she had amnesia. Despite various theories by multiple sources, these 10 days are the most mysterious chapter in Agatha's life.

Agatha and Archie divorced in 1928, though she kept the last name Christie. She gained sole custody of her daughter Rosalind. In 1930, Agatha married her second (and last) husband Max Mallowan, a professional archaeologist. They would remain married until her death in 1976.Christie often used places that she was familiar with as settings for her novels and short stories. Her various travels with Max introduced her to locations of the Middle East, and provided inspiration for a number of novels.

In 1934, Agatha and Max settled in Winterbrook, Oxfordshire, which served as their main residence until their respective deaths. During World War II, she served in the pharmacy at the University College Hospital, where she gained additional training about substances used for poisoning cases. She incorporated such knowledge for realistic details in her stories.

She became a Commander of the Order of the British Empire in 1956 and a Dame Commander of the same order in 1971. Her husband was knighted in 1968. They are among the relatively few couples where both members have been honored for their work. Agatha continued writing until 1974, though her health problems affected her writing style. Her memory was problematic for several years and she had trouble remembering the details of her own work, even while she was writing it. Recent researches on her medical condition suggest that she was suffering from Alzheimer's disease or other dementia. She died of natural causes in early 1976.

She was the archetypal brassy, bosomy, Brooklynesque blonde with a highly-distinctive scratchy voice. Barbara Nichols started life as Barbara Marie Nickerauer in Queens, New York on December 10, 1928, and grew up on Long Island. After graduating from Woodrow Wilson High School, she changed her reddish-brown hair to platinum-blonde and worked as a post-war model and burlesque dancer. As a beauty contestant, she won the "Miss Long Island" title as well as the dubious crowns of "Miss Dill Pickle", "Miss Mink of 1953", and "Miss Welder of 1953", and also became a GI pin-up favorite. She began to draw early attention on stage (particularly in the musical "Pal Joey") and in television drama.

Barbara found herself stealing focus in small wisecracking roles, managing at times to draw both humor and pathos from her characters--sometimes simultaneously. She seemed fated to play strippers, gold-diggers, barflies, gun molls, and other floozy types, but she made the best of her stereotypes, taking full advantage of the not-so-bad films that came her way. While most did emphasize her physical endowments, she could also be extremely funny when given a decent script. By far the best of her work came out in one year: Pal Joey (1957), Sweet Smell of Success (1957), and The Pajama Game (1957). By the decade's end, though, her film career had slowed down, and more and more she turned to television, appearing on The Beverly Hillbillies (1962), Adam-12 (1968), The Twilight Zone (1959) (the classic "Twenty-Two" episode), The Untouchables (1959), and Batman (1966), to name a few.

Barbara landed only one regular series role in her career, the very short-lived situation comedy Love That Jill (1958) starring husband-and-wife team Anne Jeffreys and Robert Sterling. Barbara played a model named "Ginger". She also co-starred on Broadway with George Gobel and Sam Levene in the musical "Let It Ride" in 1961, and played roles in a few low-budget movies, including the campy prison drama House of Women (1962) and the science-fiction film The Human Duplicators (1964), starring George Nader and Richard Kiel, who played "Jaws" in the James Bond film series.

A serious Long Island car accident in July 1957 led to the loss of her spleen, and another serious car accident in Southern California in the 1960s led to a torn liver. Complications would set in over a decade later and she was forced to slow down her career. She eventually developed a life-threatening liver disease and her health deteriorated. In summer 1976, she was taken to Cedars-Sinai Medical Center in Los Angeles, California, where she went into a coma. She awoke for a few days just before Labor Day, but sank back shortly afterward. She died at age 47 of liver failure on October 5 and was survived by her parents, George and Julia Nickerauer. She was interred at Pinelawn Memorial Park in Farmingdale, New York.

Tall, reedy, thin-browed, light-haired British award-winning theatre actress Margaret Leighton was born in Worchestershire, England, on February 26, 1922, the daughter of a businessman. Expressing an early desire to act, she quit school at age 15 and auditioned and joined Sir Barry Jackson's Birmingham Repertory Theatre. Becoming one of his star students, he hired her as a stage manager and offered her the small role of Dorothy in the stage play Laugh with Me (1938). The play marked her professional stage debut. The play was immediately taken to the BBC-TV (Laugh with Me (1938). During these productive repertory years, she involved herself in the classical plays Chekov, Shakespeare, and Shaw, among others..

In 1944, Margaret made her London debut at the Old Vic, playing the daughter of the troll king in 'Peer Gynt. Joining the company under the auspices of Laurence Olivier and Ralph Richardson, she earned distinction as a classical stage actress. In 1946, she made her Broadway debut in repertory with productions of Henry IV, Parts I and II (as Lady Percy), Uncle Vanya (as Yelena), and others.

The opulent actress with strikingly odd, yet fascinating facial features stole more than a few plays and films away from the stars with her stunning portrayals of neurotic, brittle matrons. Her unique brand of sophisticated eccentricity went on to captivate both Broadway and London audiences with her many theatre offerings, particularly her portrayals of Celia Coplestone in The Cocktail Party (1950) and Orinthia in a revival of The Apple Cart (1953). Her New York performance as Mrs. Shankland in Terence Rattigan's drama Separate Tables (1956) earned her a Tony Award. She returned to Broadway in 1959, to play Beatrice in Shakespeare's Much Ado About Nothing, before returning in 1962 as Hannah in The Night of the Iguana, and earning her second Best Actress Tony. She'd continue to return to Broadway throughout the 1960's with such plays as, The Chinese Prime Minister, Slapstick Tragedy, and the 1967 heralded production of The Little Foxes,first playing Birdie before taking over the role of Regina.

During the 1950's and 1960's, Margaret would alternate between working on British and U.S. films. She made her British debut as Catherine Winslow in Rattigan's The Winslow Boy (1948) starring Robert Donat, then co-starred opposite David Niven in the period biopic Bonnie Prince Charlie (1948). Hitchcock used her next in one of his lesser known romantic crime films Under Capricorn (1949) before entangling herself in a romantic triangle with Celia Johnson and Noël Coward in The Astonished Heart (1950), which was both written and directed by Coward. In the crimer Calling Bulldog Drummond (1951), Margaret plays a Scotland Yard sergeant who pulls the master sleuth (Walter Pidgeon) out of retirement to infiltrate a vicious gang together, while in the mystery crime drama, Murder on Monday (1952), the touching drama The Holly and the Ivy (1952) and the saucy comedy A Novel Affair (1957), she reunited with her Old Vic theatre mentor, Ralph Richardson.

Margaret married (1947) and divorced (1955) noted publisher Max Reinhardt (of Reinhardt & Evans), known for his collection of letters and photographs from playwright and novelist George Bernard Shaw. Her second husband would be actor Laurence Harvey who starred in the British crime thriller The Good Die Young (1954) in which Margaret made a co-starring appearance as his abused wife. They would marry later in 1957.

Margaret earned her first top cinematic billing as Helen Teckman in The Teckman Mystery (1954) and reunited with David Niven in the military film Court Martial (1954). Playing a Southern aristocrat in the U.S. filming of William Faulkner's The Sound and the Fury (1959) starring Yul Brynner, she followed that in the 1960's with a co-star part opposite Peter Sellers in the comedy Waltz of the Toreadors (1962) and an all-star American cast headed by Henry Fonda in the potent political drama The Best Man (1964). The black comedy The Loved One (1965) and the dramatic 7 Women (1965), playing one of several ladies in peril at a Chinese mission, followed.

Appearing in TV-movie versions of literary classics including Arms and the Man,As You LIke It. Margaret began to make guest appearances on TV programs, including; Alfred Hitchcock Presents (1955),Playhouse 90 (1956), in addition to a recurring role on Dr. Kildare (1961)

Divorced from Harvey in 1961, Margaret's third and final marriage to actor Michael Wilding in 1964 was an enduring match-up. The couple went on to co-star in the period piece Lady Caroline Lamb (1972). Other notable screen credits include Marriage a la Mode (1955), Waltz of the Toreadors (1962), The Madwoman of Chaillot (1969) and the made-for-TV, Great Expectations (1974) as Miss Havisham. Margaret would receive her only Oscar nomination for her support role in The Go-Between (1971), as Julie Christie's manipulative, class-conscious mother.

In 1971, Margaret was diagnosed with multiple sclerosis, but didn't let it slow her down for quite some time. She continued to perform in such films as X, Y & Zee (1972), The Nelson Affair (1973) and the TV horror offering Frankenstein: The True Story (1973). By 1975, when she was no longer capable of walking, she continued to act giving an over-the-top comic performance in A Dirty Knight's Work (1976). Margaret passed away on 13 January, 1976. Margaret had no children by any of her marriages.

Stanley Baker was unusual star material to emerge during the Fifties - when impossibly handsome and engagingly romantic leading men were almost de rigueur. Baker was forged from a rougher mould. His was good-looking, but his features were angular, taut, austere and unwelcoming. His screen persona was taciturn, even surly, and the young actor displayed a predilection for introspection and blunt speaking, and was almost wilfully unromantic. For the times a potential leading actor cast heavily against the grain. Baker immediately proved a unique screen presence - tough, gritty, combustible - and possessing an aura of dark, even menacing power.

Stanley Baker came from rugged Welsh mining stock - and as a lad was unruly, quick to flare, and first to fight. But like his compatriot and friend Richard Burton, the young Baker was rescued from a gruelling life of coal mining by a local teacher, Glyn Morse, who recognized in the proud and self-willed lad a potent combination of a fine speaking voice, a smouldering intensity, and a strong spirit. And like Burton, Stanley Baker was specially and specifically tutored for theatrical success. In fact, early on, Burton and Baker appeared together on stage as juveniles in The Druid's Rest, in Cardiff, in Wales. But later, by way of Birmingham Repertory Theatre and then the London stage, Stanley Baker charted his inevitable course toward the Cinema.

Film welcomed the adult Baker as the embodiment of evil. Memorable early roles cast the actor in feisty unsympathetic parts - from the testy bosun in Captain Horatio Hornblower (1951) to his modern-day counterpart in The Cruel Sea (1953), to the arch villains in Hell Below Zero (1954) and Campbell's Kingdom (1957) to the dastardly Mordred in Knights of the Round Table (1953) and the wily Achilles in Helen of Troy (1956). For a time there was a distillation of Baker's screen persona in a series of roles as stern and uncompromising policemen - in Violent Playground (1958), Chance Meeting (1959), and Hell Is a City (1960). But despite never having been cast as a romantic leading man, and being almost wholly associated with villainous roles, Stanley Baker nevertheless became a star by dint of his potent personality.

Although now enthroned by enthusiastic audiences Stanley Baker was obviously aware he need not desert unsympathetic parts - and his relish in playing the scheming Astaroth in Sodom and Gomorrah (1962) and the unscrupulous mobster Johnny Bannion in The Concrete Jungle (1960) was readily evident. But soon there were more principled, if still surly characters, in The Guns of Navarone (1961), The Games (1970), Eva (1962), and Accident (1967), the latter two films reuniting Baker with the American expatriot director of The Criminal, Joseph Losey. Stanley Baker also established a fruitful working relationship with the American director Cy Endfield, following their early collaboration on Hell Drivers (1957). When Baker inaugurated his own film production company - it was Endfield he commissioned to write and direct both Zulu (1964) and Sands of the Kalahari (1965), with Baker allotting himself the downbeat roles of the martinet officer John Chard in Zulu and the reluctant hero Mike Bain in The Sands Of The Kalahari.

Baker must have felt more assured in disenchanted roles - as further films from Baker's own stable still promoted the actor in either criminal or villainous mode - as gangster Paul Clifton in Robbery (1967) and the corrupt thief-taker Jonathan Wild in Where's Jack? (1969). The success of Baker's own productions was timely and did much to enhance the prestige of what was then considered an ailing British film industry. Stanley Baker also took the opportunity to move into the realm of television, appearing in, among other productions, the dramas The Changeling (1974) and Robinson Crusoe (1974), and also in the series How Green Was My Valley (1975).

Knighted in 1976 it was evident that Stanley Baker may well have continued to greater heights, both as an actor and a producer, but he succumbed to lung cancer and died at the early age of forty-eight. But his legacy is unquestioned. He was a unique force on screen, championing characterizations that were not clichéd or compromised. He established his own niche as an actor content to be admired for peerlessly portraying the disreputable and the unsympathetic. In that he was a dark mirror, more accurately reflecting human frailty and the vagaries of life than many of his more romantically or heroically inclined contemporaries. There have forever been legions of seemingly interchangeable charming and virile leading men populating the movies - but Stanley Baker stood almost alone in his determination to be characterized and judged by portraying the bleaker aspects of the human condition. Consequently, more than twenty-five years after his death, his sombre, potent personality still illuminates the screen in a way few others have achieved.

Michael Gwynn was born on 30 November 1916 in Bath, Somerset, England, UK [now Bath and North East Somerset, England, UK]. He was an actor, known for Jason and the Argonauts (1963), Cleopatra (1963) and Village of the Damned (1960). He was married to Margaret Jean Bartlam. He died on 29 January 1976 in London, England, UK.

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

Carol Reed was the second son of stage actor, dramatics teacher and impresario founder of the Royal School of Dramatic Art Sir Herbert Beerbohm Tree. Reed was one of Tree's six illegitimate children with Beatrice Mae Pinney, who Tree established in a second household apart from his married life. There were no social scars here; Reed grew up in a well-mannered, middle-class atmosphere. His public school days were at King's School, Canterbury, and he was only too glad to push on with the idea of following his father and becoming an actor. His mother wanted no such thing and shipped him off to Massachusetts in 1922, where his older brother resided on--of all things--a chicken ranch.

It was a wasted six months before Reed was back in England and joined a stage company of Dame Sybil Thorndike, making his stage debut in 1924. He forthwith met British writer Edgar Wallace, who cashed in on his constant output of thrillers by establishing a road troupe to do stage adaptations of them. Reed was in three of these, also working as an assistant stage manager. Wallace became chairman of the newly formed British Lion Film Corp. in 1927, and Reed followed to become his personal assistant. As such he began learning the film trade by assisting in supervising the filmed adaptations of Wallace's works. This was essentially his day job. At night he continued stage acting and managing. It was something of a relief when Wallace passed on in 1932; Reed decided to drop the stage for film and joined historic Ealing Studios as dialog director for Associated Talking Pictures under Basil Dean.

Reed rose from dialog director to second-unit director and assistant director in record time, his first solo directorship being the adventure Midshipman Easy (1935). This and his subsequent effort, Laburnum Grove (1936), attracted high praise from a future collaborator, novelist/critic Graham Greene, who said that once Reed "gets the right script, [he] will prove far more than efficient." However, Reed would endure the sort of staid, boilerplate filmmaking that characterized British "B" movies until he left this behind with The Stars Look Down (1940), his second film with Michael Redgrave, and his openly Hitchcockian Night Train to Munich (1940), a comedy-thriller with Rex Harrison. It has often been seen as a sequel to Alfred Hitchcock's The Lady Vanishes (1938) with the same screenwriters and comedy relief--Basil Radford and Naunton Wayne, who would just about make careers as the cricket zealots Charters and Caldicott, from "Vanishes".

The British liked these films and, significantly, so did America, where Hollywood still wondered whether their patronage of the British film industry was worth the gamble of a payoff via the US public. Dean was just one of several powerhouse producers rising in Britain in the 1930s. Other names are more familiar: Alexander Korda and J. Arthur Rank stand out. For Reed, who would wisely decide to start producing his own films in order to have more control over them, finding his niche was still a challenge into the 1940s. He was only too well aware that the film director led a team effort--his was partly a coordinator's task, harmonizing the talents of the creative team. The modest Reed would admit to his success being this partnership time and again. So he gravitated toward the same scriptwriters, art directors and cinematographers as his movie list spread out.

There were more thrillers and some historical bios: The Remarkable Mr. Kipps (1941) with Redgrave and The Young Mr. Pitt (1942) with Robert Donat. He did service and war effort fare through World War II, but these were more than flag wavers, for Reed dealt with the psychology of transitioning to military life. His Anglo-American documentary of combat (co-directed by Garson Kanin), The True Glory (1945), won the 1946 Oscar for Best Documentary. With that under his belt, Reed was now recognized as Britain's ablest director and could pick and choose his projects. He also had the clout--and the all-important funds--to do what he thought was essential to ensure realism on a location shoot, something missing in British film work prior to Reed.

Odd Man Out (1947) with James Mason as an IRA hit man on the run did just that and was Reed's first real independent effort, and he had gone to Rank to do it. All too soon, however, that organization began subjugating directors' wishes to studio needs, and Reed made perhaps his most important associative decision and joined Korda's London Films. Here was one very important harmony--he and Korda thought along the same lines. Though Anthony Kimmins had scripted four films for Reed, it was time for Korda to introduce the director to Graham Greene. Their association would bring Reed his greatest successes. The Fallen Idol (1948) was based on a Greene short story, with Ralph Richardson as a do-everything head butler in a diplomatic household. Idolized by the lonely, small son of his employer, he becomes caught up in a liaison with a woman on the work staff, who was much younger than his shrewish wife. It may seem slow to an American audience, but with the focus on the boy's wide-eyed view of rather gloomy surroundings, as well as the adult drama around him, it was innovative and a solid success.

What came next was a landmark--the best known of Reed's films. The Third Man (1949) was yet another Greene story, molded into a gem of a screenplay by him, though Reed added some significant elements of his own. The film has been endlessly summarized and analyzed and, whether defined as an international noir or post-war noir or just noir, it was cutting-edge noir and unforgettable. This was Reed in full control--well, almost-- and the money was coming from yet another wide-vision producer, David O. Selznick, along with Korda. Tension did develop in this effort keep a predominantly Anglo effort in this Anglo-American collaboration.

There were complications, though. For one thing, Korda--old friend and somewhat kindred spirit of wunderkind director Orson Welles--had a gentlemen's agreement with the latter for three pictures, but these were not forthcoming. Korda could be as evasive as Welles was known to be, and Welles had come to Europe to further his inevitable film projects after troubles in Hollywood. Always desperate for seed money, Welles was forced to take acting parts in Europe to build up his bank account in order to finance his more personal projects. He thus accepted the role of the larger-than-life American flim-flam man turned criminal, Harry Lime. The extended time spent filming the Vienna sewer scenes on location and at the elaborate set for them at Shepperton Studios in London, entailed the longest of the ten minutes or so of Welles' screen time. Here was a potential source of directorial intimidation if ever there was one. Welles took it upon himself to direct Reed's veteran cinematographer Robert Krasker with his own vision of some sewer sequences in London (after leaving the location shoot in Vienna), using many takes. Supposedly, Reed did not use any of Welles' footage, and in fact whatever there was got conveniently lost. Yet Citizen Kane (1941)'s shadow was so looming that Welles was given credit for a lot of camera work, atmospherics and the chase scenes. He had referred to the movie as "my film" later on and had said he wrote all his dialog. Some of the ferris wheel dialog with its famous famous "cuckoo clock" speech (which Reed and Greene both attributed to him) was probably the essence of Welles' contributions.

Krasker's quirky angles under Reed's direction perfectly framed the ready-made-for-an-art designer bombed-out shadows and stark, isolated street lights of postwar Vienna and its underworld. Unique to cinema history, the whole score (except for some canned incidental café music) was just the brilliant zither playing of Anton Karas, adding his nuances to every dramatic transition. Krasker won an Oscar, and Karas was nominated for one.

Reed's attention to detailed casting also paid off, particularly in casting German-speaking actors and background players. Selznick insisted on Joseph Cotten as Holly Martins, the benighted protagonist, and his clipped and sharp voice and subterranean drawl were perfect for the part. Reed had wanted James Stewart--definitely a different perception than Americans of its leading men. Selznick parted ways with Reed on other issues, however; there was a laundry list of reasons for his re-editing and changing some incidentals for the shorter American version, partly based on negative comments from sneak preview responses. Perhaps it was the constant interruptions from the other side of the Atlantic that drove Reed to personally narrate the introduction describing Martins in the British version of the film (given the basic tenets of noir films, the star always played narrator to introduce the story and voice over where appropriate). Selznick showed himself--in this instance, anyway--to have a better directorial sense by substituting Cotten introducing himself in the American cut. It made far more sense and was much more effective. On the other hand, Selznick's editing of the pivotal railway café scenes with Cotten and Alida Valli had continuity problems.

Nonetheless, the film was an international smash, and all the principal players reaped the rewards. Reed did not get an Oscar, but he did win the Cannes Film Grand Prix. Greene was motivated enough to take the story and expand it into a best-selling novel. Even Welles, with his minimum screen time--he was spending most of his time in Europe trying to obtain financing for his newest project, Othello (1956)--milked the movie for all it was worth. He did not deny directorial influences (though in a 1984 interview he did), and even developed a Harry Lime radio show back home.

However, the movie had its detractors. It was called too melodramatic and too cynical. The short scenes of untranslated German dialog were also criticized, yet that lent to the atmosphere of confusion and helplessness of Martins caught in a wary, potentially dangerous environment--something the audience inevitably was able to share. It was all too ironic that Reed, now declared by some as the greatest living director of the time, found his career in decline thereafter. Of his total output, four were based on plays, three on stories and 15 on novels. With less than half of them to go, he was to be disappointed for the most part. His The Man Between (1953) with James Mason was too much of a "Third Man" reprise, and A Kid for Two Farthings (1955) was too sentimental.

By now Reed was being sought by enterprising Hollywood producers. He had--as he usually did--the material for a first-rate movie with two popular American actors, Burt Lancaster and Tony Curtis for Trapeze (1956). However, it suffered from a slow script, as would the British-produced The Key (1958), despite another international cast. Things finally picked up with his venture into another Greene-scripted film from his novel, with Alec Guinness in the lead in the UK spy spoof Our Man in Havana (1959) with yet another winning international cast.

When Hollywood called again, the chance at such a British piece of history as Mutiny on the Bounty (1962) with a mostly British cast and Marlon Brando seemed bound for success. It was the second version of the movie produced by MGM (the first being the Clark Gable starrer Mutiny on the Bounty (1935)). However, Brando's history of being temperamental was much in evidence on location in Tahiti. Reed shot a small part of the picture but finally left, having more than his fill of the star's ego (and, evidently, being allowed too much artistic control by the studio) and the film was finished by Lewis Milestone. Reed would ultimately be branded as a failure in directing historical movies, but it was an unfair appraisal based on the random aspect of film success and such forces of nature as Brando, not artistic and technical expertise.

The opportunity to make another film came knocking again with Reed and American money forming the production company International Classics to produce Irving Stone's best-selling story of Michelangelo and the painting of the Sistine Chapel, The Agony and the Ecstasy (1965). Here is perhaps the prime example of Reed being given short shrift for a really valiant effort at an historical, artistically significant and cultural epic because it was a "flop" at the box office. Shot on location in Rome and its environs, the film had a first-rate cast headed by Charlton Heston doing his method best as the temperamental artist with Rex Harrison, an effortless standout as the equally volatile Pope Julius II. Diane Cilento did fine work as the Contessina de Medici, with the always stalwart Harry Andrews as architect rival Donato Bramante. Most of the other roles were filled by Italians dubbed in English, but they all look good.

Reed's attention to historical detail provided perhaps the most accurate depiction of early 16th-century Italy--from costumes and manners to military action and weapons (especially firearms)--ever brought to the screen. The script by Philip Dunne was brisk and always entertaining in the verbal battle between the artist and his pontiff. Yet by the 1960s costume epics were going out of style and bigger flops, such as Cleopatra (1963) (talk about agony) despite the wealth of stars which included Harrison, tended to spread like a disease to those few that came later. Despite a high-powered distribution campaign by Twentieth Century-Fox, Reed's exemplary effort would ultimately be appreciated by art scholars and historians--not the stuff of Hollywood's money mentality.

For Reed the only remaining triumph was, of all things, a musical--his first and only--yet again he was working with children. However, the adaptation of the great Charles Dickens novel "Oliver Twistt" top the screen (as Oliver! (1968)) was a sensation with a lively script and music amid a realistic 19th-century London that was up to Reed's usual standards. The film was nominated for no less than 11 Oscars, wining five and two of the big ones--Best Picture and Best Director. Reed had finally achieved that bit of elusiveness. He could never be so simplistically stamped with an uneven career; Reed had always kept to a precise craftsman's movie-making formula.

Fellow British director Michael Powell had said that Reed "could put a film together like a watchmaker puts together a watch". It was Graham Greene, however, who gave Reed perhaps the more important personal accolade: "The only director I know with that particular warmth of human sympathy, the extraordinary feeling for the right face in the right part, the exactitude of cutting, and not least important the power of sympathizing with an author's worries and an ability to guide him."

Born in his ancestral palazzo, situated in the same Milanese square as both the opera house La Scala and the Milan Cathedral, Luchino Visconti (1906 - 1976) was raised under the auspices of aristocratic privilege, theater and Catholicism. This triangulation of monuments would create an equally titanic filmmaker whose work remained stylistically sui generis through arguably the most impressive decades of 20th century filmmaking. The quietude of La Terra Trema (1948) is managed with an operatic virtuosity, and the baroque period pieces-for which he is best known today-clearly point to a noble upbringing. However, there is also a Gothic character to Visconti-embodied in the spired cathedral that overshadowed his childhood-that has remained largely unsung. The relationship between the Visconti family and Gothic architecture stretches back to the Medieval Era. In 1386, Duke Gian Galeazzo Visconti envisioned a cathedral in the heart of Milan, though it was fated to remain under construction for almost half a millennium until Napoleon ordered its completion in the 19th century. Just as his ancestor brought Northern Gothic architecture to Italy, so, in 1943, did Luchino introduce the groundbreaking cinematic genre of Italian neorealism to the peninsula. Doing away with sets, neorealist cinema was set in the raw environment of postwar Italy. In one sense anti-architectural in its desire to transcend the bonds of interior space, this same ambition is what makes the style a perfect cinematic analog to the Gothic. The Gothic is an architecture of exteriority: Throwing ceilings to the sky and opening walls onto the outside with large windows, the Gothic presents light as the manifestation of divinity within a place of worship. The mysticism of light, dating back to the pseudo-Dionysian theology of Abbot Suger of St. Denis Cathedral, translates well to the medium of light that is the cinema. In any Visconti work, lighting is intimately connected to set design: It is often seen in the gleam of curtains, the radiance of starlight or the glow of Milanese fog, where the director carries the religiosity of Gothic architecture into his realism. Visconti's religion (or should we say religions? For he was also a Marxist) adds an ethical weight, powerful and challenging, to his works. The term decadence, often associated with Visconti, only attains meaning through being in excess of contemporary mores. Neither the Catholic Church nor the Italian communists could accept Visconti's homosexuality, and a resultant displaced angst is plainly worn by his protagonists-monumental individuals who bear the full weight of their social milieus. While neorealism has come to be packaged with its own mythology-a new cinema for a liberated nation, the idea of a new "Italian" style-re-centering our historical gaze on the Gothic Visconti allows one's imagination to spread across a much larger plane of geography and time. From his cinematic apprenticeship with Jean Renoir in France-the very cradle of Gothic architecture-to his German trilogy, Visconti's style has always been one of cosmopolitan effort. This international flavor also matches the deeper etymological referent of the Gothic-the Goths, those barbarian invaders who toppled the Roman Empire. Among Visconti's formal signatures are many borrowings from foreign directors, including the particularly pronounced influence of Jean Renoir, Josef Von Sternberg and Elia Kazan. Global in scope, timeless in influence and architectural in spirit: This is the legacy of Luchino Visconti.

The star of the Carry On series of films, Sid James originally came to prominence as sidekick to the ground breaking British comedy actor Tony Hancock, on both radio and then television. Born in Johannesburg, South Africa and named Solomon Joel Cohen, James arrived in England in 1946, second wife in tow, having served with the South African Army during World War 2. By now an aspiring actor, James claimed to have boxed in his youth, perhaps to explain his craggy features, but was certainly a well respected hairdresser in his native country. Known in the trade as "one take James", he became a very talented and professional actor, constantly in demand for small parts in British post-war cinema. In 1960 James debuted in the fourth of the Carry On films, taking the lead role in Carry on Constable (1960) and went on to appear in a further 18 Carry On films as well as various stage and television spin-offs. Reputed not to have got on with Carry On co-star Kenneth Williams, the two often played adversaries on-screen, notably in the historical parodies Carry on Up the Khyber (1968) and Carry on Don't Lose Your Head (1967). James however was respected and revered by almost everyone he worked with and contrary to popular myth, a true gentleman. An addiction to gambling played a large part in James' workaholic schedule and subsequent heart attack in 1967. He was soon back in action however, playing a hospital patient in Carry on Doctor (1967), able to spend most of the film in bed. He suffered a second and fatal heart attack on stage in Sunderland, England on April 26 1976, leaving behind 3 children and his third wife Valerie who had stuck by him despite his affair with Carry On co-star Barbara Windsor, saying, "He always came home to me".

Linda Watkins was born on 23 May 1908 in Boston, Massachusetts, USA. She was an actress, known for The Parent Trap (1961), From Hell It Came (1957) and Route 66 (1960). She was married to Gabriel Lorie Hess. She died on 31 October 1976 in Los Angeles, California, USA.

Manhattan-born thespian William Redfield was influenced early on into an acting career as the son of an orchestra conductor and a former Ziegfeld Follies girl. Born on January 26, 1927, young "Billy Redfield" made his Broadway debut in "Swing Your Lady" in 1936 at the age of 9. Within a few years, the young boy was also heard on radio and appeared in his first movie, the crime drama Back Door to Heaven (1939). As a juvenile, he continued on Broadway with such productions as "Our Town" (1938) and "Junior Miss" (1941). In subsequent years, Redfield would become one of the original founders of the famed Actor's Studio.

Gainfully employed on stage and TV throughout the 50s, he starred in a short-lived series as Jimmy Hughes, Rookie Cop (1953) (which appeared on the early Dumont Network) in 1953 and followed it up the next year with the one-season show The Marriage (1954), which has the distinction of being the first live network series to be regularly broadcast in color. An exceptionally talented writer and speaker, he co-created the Mister Peepers (1952) sitcom in the 50s, wrote the theater play "A View with Alarm" and later published his memoir, "Letters From an Actor", which recalled his experiences playing Guildenstern in the 1964 theater production of "Hamlet" starring Richard Burton and directed by John Gielgud. Other Broadway fare included "Misalliance" (1953), "Midgie Purvis" (1961) which starred Tallulah Bankhead, and "A Man for All Seasons" (1961) with Paul Scofield. In 1968, he replaced George Grizzard in the popular "You Know I Can't Hear You When the Water's Running".

Redfield also stretched his visibility with audiences as a highly candid, warmly-received raconteur on the talk show circuit. He certainly didn't mince words as he described the ups and downs of the acting profession. It wasn't until the late 60s that Redfield started making a dent in film with roles in such popular screen fare as Morituri (1965), Fantastic Voyage (1966), A New Leaf (1971), Such Good Friends (1971), The Hot Rock (1972), and For Pete's Sake (1974), usually playing intense, unsympathetic parts.

Redfield finally hit the big time in the third-billed role of "Harding", the tense, logical, but high-strung mental patient opposite Jack Nicholson's "Randall McMurphy" in the Oscar-winning One Flew Over the Cuckoo's Nest (1975). What should have been the start of an enviable film support career and making a name for himself turned out to be nearly his swan song. Redfield died of leukemia the following year at the age of 49. His son, Adam Redfield, also became an actor on stage and TV.

Delightfully daffy and quite an apple dumpling of a darling, this cheerfully wizened character actress was born Ruth Thane Shoecraft on September 13, 1895, in Michigan but raised in Ohio where her father served as a county sheriff. Ruth's parents, both musicians, encouraged her to perform. Graduating from the Wooster University in Ohio, she later studied drama at the Toledo Dramatic Academy.

Ruth would also attend the American Academy of Dramatic Art (AADA) with strong designs on a New York career but instead married a Florida widower, Patrick McDevitt, a contractor, and decided to focus on domestic life. With the passing of her husband, however, in 1934, the now broaching 40-year-old lady decided to give it a go again and began dabbling in community theater plays

Reigniting her long dormant desires, Ruth eventually found herself in New York and it wasn't long before she became a viable 30's and 40's presence on Broadway and radio in both comedic and dramatic fare. Making her debut in late 1937 with a short-lived production of "Straw Hat" (as Ruth Thane McDevitt -- she shortened it later on), Ruth went on to appear in several other plays that had brief lives such as "Young Couple Wanted" (1940), "Goodbye in the Night" (1940), "Mr. Big" (1941) and "Meet a Body" (1944). She earned excellent notices when she replaced star Josephine Hull in the Broadway comedies "Arsenic and Old Lace" (1942) and "The Solid Gold Cadillac" (1954). Years later, she and Hull would also co-star as anomalous sisters Martha and Abby Brewster, respectively, in a 1949 TV production of "Harvey" for the "Ford Theatre Hour." As for radio, she provided the voice of Jane Channing on the popular radio soap "This Life Is Mine." during the war years.

A flair for eccentric comedy opened a huge door for Ruth in the TV and film worlds during the 50s as one of those faces you couldn't put a name to but instinctively knew. Although she made her film debut in the little seen Paul Douglas sports drama The Guy Who Came Back (1951), most of Ruth's on-camera performances were on the small screen with such attention-getting roles as Mom Peepers, the mother of meek Wally Cox in the comedy series Mister Peepers (1952) series. She graced several of the popular anthology series as well ("Lux Video Theatre," "Philco Television Playhouse," "Kraft Theatre," "Studio One in Hollywood").

In the 1960's, Ruth appeared on Broadway in "The Best Man" and earned particularly fine reviews for what would be her last New York show, "Absence of a Cello." She also showed up on several sitcoms while lightening up many a drama. Her program guest list includes "Decoy," "Naked City," "Dr. Kildare," the daytime soaper "The Doctors." "Route 66," "The Alfred Hitchcock Hour," "The Andy Griffith Show," "The Ghost & Mrs. Muir," "I Dream of Jeannie," "Mayberry R.F.D.," "My World and Welcome to It," "Ironside," "Love, American Style" and "Bewitched." She also milked laughs as a gun totin', sharp-shootin' granny in the comedy Pistols 'n' Petticoats (1966) starring Ann Sheridan. Sadly, the series was abruptly canceled after only one season due to the star's death from cancer.

Ruth decorated a number of fluffy film comedies as a befuddled, warble-voiced elderly in such lightweight fare as The Parent Trap (1961), The Shakiest Gun in the West (1968), Angel in My Pocket (1969) and Mame (1974), and would continue to perform right up until her death. In her twilight years, she provided comedy relief as eccentric advice columnist and crossword puzzle enthusiast Emily Cowles in the cult supernatural thriller series Kolchak: The Night Stalker (1974) starring Darren McGavin. Her final guest appearances included "The Streets of San Francisco" and "Phyllis."

Ruth died of natural causes at age 80 on May 27, 1976, in Los Angeles.

Jean-Alexis Moncorgé started his career with 15 years at the theatre and debuted at the "Moulin Rouge" in Paris in 1929. Despite of his rude aspect he knew to be the gentleman of the French cinema in the time between the two World Wars. One of his most popular personalities was inspector Maigret. But he was also able to play all other kind of people: aristocrats, farmers, thieves and managers. He never stopped working and when death surprised him in 1976 he was still an institution for the French audience.

A pleasant, attractive leading lady, Cathy Downs was an "outdoors type" who worked as a model before she became a Fox contract player in 1944. In the late 1940s she was being groomed for major success -- e.g., she played the title role in John Ford's My Darling Clementine (1946) -- but most of her subsequent movie roles were in low-budget westerns, action and horror pictures. She was married to Joe Kirkwood Jr., an actor and producer who played Joe Palooka in a series of low-budget 1940-'50s films. They acted together in a short-lived TV series The Joe Palooka Story (1954). She is well-regarded in science-fiction fan circles as a memorable heroine of 1950s sci-fi flicks.

Before there was an Alan Ladd, there was another furtive-eyed, baby-faced, cigarette-dangling Alan, impacting the movie scene with his various colorless and cold-hearted thugs, mobsters and killers. Dark-haired, bullet-headed actor Alan Baxter earned a noticeable degree of popularity back in the late 1930s and 1940s with his various despicable characters, before his film career lost steam and he sought more and more TV and stage work.

The son of a Cleveland Trust Company vice president, Baxter was born on November 19, 1908, in East Cleveland. Following high school, he studied drama at Williams College in Williamstown, Massachusetts, where he forged a strong friendship with fellow collegiate and future directing icon, Elia Kazan. Once they graduated in 1930, the duo attended Yale's School of Drama.

Baxter hooked up with the then-fledgling Group Theatre in the early 1930s and appeared in such stage productions as "Lone Valley", "The Pure in Heart" and "Waiting for Lefty". His performance in "Black Pit" in 1935, however, was witnessed by a Hollywood talent scout and it was enough to change the course of his career. Immediately heading west to Hollywood, Baxter made an auspicious debut with his strong performance as "Babe Wilson", the unfeeling killer loved by Sylvia Sidney's character in Mary Burns, Fugitive (1935). Three years later, Baxter went on to recreate the role on radio.

With his foot strongly in the Paramount door, he continued playing dangerous, unsavory types in 13 Hours by Air (1936), Big Brown Eyes (1936) and The Case Against Mrs. Ames (1936), until his contract ran out. Continuing to freelance throughout the remainder of the 1930s, he remained on the wrong side of the law in Parole! (1936), Breezing Home (1937), Night Key (1937), Wide Open Faces (1938), Off the Record (1939), My Son Is a Criminal (1939), and Each Dawn I Die (1939).

A solid "B" lead player who appeared in support when it came to "A" pictures, Baxter occasionally broke out of the "bad guy" mold -- but not often. By this time, Alan Ladd was starting to cut in on Baxter's action with his moody and sexy versions of trench-coat-trendy villains. Baxter, nevertheless, continued to roll on, playing outlaw "Jesse James" in Bad Men of Missouri (1941) opposite Dennis Morgan, Wayne Morris, and Arthur Kennedy as the Younger brothers, while adding slick malevolence to such films as Escape to Glory (1940) (with Constance Bennett), Under Age (1941) (with Nan Grey and Mary Anderson), The Pittsburgh Kid (1941) (with Jean Parker), and Rags to Riches (1941) (with Mary Carlisle). This period of filming was topped by an excellent support role in the classic Alfred Hitchcock thriller, Saboteur (1942), in which he, as the meek-voiced, mustachioed, bespectacled, peroxide blond Nazi spy "Freeman", shares a memorable scene with lead Robert Cummings.

Following standard work in China Girl (1942) and Behind Prison Walls (1943), Baxter (at age 35) signed up for the Army Air Force in 1943, and appeared in the Broadway production of Moss Hart's "Winged Victory", which later was turned into the 1944 movie version of the same name, Winged Victory (1944) (also featuring Baxter). Post-war filming grew more dismal with a high majority of "Poverty Row" pictures coming Baxter's way. His last appearance in a strong film was the Robert Ryan boxing pic, The Set-Up (1949), as a mobster involved in fixing matches. Alan decided to return to the challenge of the stage, appearing in such plays as "Home of the Brave" (1945), "The Voice of the Turtle" (1947), "The Hallams" (1948), "Jenny Kissed Me" (1948), "Tea and Sympathy" (1955), and "South Pacific" (1957) (in a non-singing role). TV also became a positive medium, with adventure guest roles on The Rifleman (1958), Wagon Train (1957), Colt .45 (1957) and Alfred Hitchcock Presents (1955), among the offerings.

By the 1960s, Baxter was seen primarily in incidental film roles, his last being the cult rodent thriller, Willard (1971). Diagnosed with cancer, the twice-married actor died a few years later at the Motion Picture Country Home in Woodland Hills, Los Angeles, on May 8, 1976, aged 67.

George Pastell was a Cypriot character actor in British films and television programs. His real name was Nino Pastellides.

He made his film debut in Give Us This Day (1949), under his real name of Nino Pastellides, and went on to carve out a career as villains in film and television. Although Greek, he was often cast by Hammer Film Productions as Eastern characters such as Mehemet Bey in The Mummy (1959), the High Priest of Kali in The Stranglers of Bombay (1959), and Hashmi Bey in The Curse of the Mummy's Tomb (1964).

His exotic looks often saw him cast in spy movies of the sixties such as From Russia with Love (1963), The 2nd Best Secret Agent in the Whole Wide World (1965), A Man Could Get Killed (1966), That Riviera Touch (1966), and Deadlier Than the Male (1967).

As well as these film roles he could also be seen as the villain in numerous television series of the sixties including Danger Man (1960), The Avengers (1961), Doctor Who (1963), The Champions (1968), The Saint (1962), and Department S (1969).

Pastellides was most prolific, however, in his voice-over work, replacing hundreds of other actors' voices (some of them very famous) in films as disparate as El Cid (1961) as "Fañez", You Only Live Twice (1967) as "Tiger Tanaka, and Doctor Zhivago (1965) as "The Girl's (the character played by Rita Tushingham) boyfriend", earning him the sobriquet "the 'Paul Frees (I)' of Britain."