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If a film were made of the life of Vivien Leigh, it would open in India just before World War I, where a successful British businessman could live like a prince. In the mountains above Calcutta, a little princess is born. Because of the outbreak of World War I, she is six years old the first time her parents take her to England. Her mother thinks she should have a proper English upbringing and insists on leaving her in a convent school - even though Vivien is two years younger than any of the other girls at the school. The only comfort for the lonely child is a cat that was in the courtyard of the school that the nuns let her take up to her dormitory. Her first and best friend at the school is an eight-year-old girl, Maureen O'Sullivan who has been transplanted from Ireland. In the bleakness of a convent school, the two girls can recreate in their imaginations the places they have left and places where they would some day like to travel. After Vivien has been at the school for 18 months, her mother comes again from India and takes her to a play in London. In the next six months Vivien will insist on seeing the same play 16 times. In India the British community entertained themselves at amateur theatricals and Vivien's father was a leading man. Pupils at the English convent school are eager to perform in school plays. It's an all-girls school, so some of the girls have to play the male roles. The male roles are so much more adventurous. Vivien's favorite actor is Leslie Howard, and at 19 she marries an English barrister who looks very much like him. The year is 1932. Vivien's best friend from that convent school has gone to California, where she's making movies. Vivien has an opportunity to play a small role in an English film, Things Are Looking Up (1935). She has only one line but the camera keeps returning to her face. The London stage is more exciting than the movies being filmed in England, and the most thrilling actor on that stage is Laurence Olivier. At a party Vivien finds out about a stage role, "The Green Sash", where the only requirement is that the leading lady be beautiful. The play has a very brief run, but now she is a real actress. An English film is going to be made about Elizabeth I. Laurence gets the role of a young favorite of the queen who is sent to Spain. Vivien gets a much smaller role as a lady-in-waiting of the queen who is in love with Laurence's character. In real life, both fall in love while making this film, Fire Over England (1937). In 1938, Hollywood wants Laurence to play Heathcliff in Wuthering Heights (1939). Vivien, who has just recently read Gone with the Wind (1939), thinks that the role of Scarlett O'Hara is the first role for an actress that would be really exciting to bring to the screen. She sails to America for a brief vacation. In New York she gets on a plane for the first time to rush to California to see Laurence. They have dinner with Myron Selznick the night that his brother, David O. Selznick, is burning Atlanta on a backlot of MGM (actually they are burning old sets that go back to the early days of silent films to make room to recreate an Atlanta of the 1860s). Vivien is 26 when Gone with the Wind (1939) makes a sweep of the Oscars in 1939. So let's show 26-year-old Vivien walking up to the stage to accept her Oscar and then as the Oscar is presented the camera focuses on Vivien's face and through the magic of digitally altering images, the 26-year-old face merges into the face of Vivien at age 38 getting her second Best Actress Oscar for portraying Blanche DuBois in A Streetcar Named Desire (1951). She wouldn't have returned to America to make that film had not Laurence been going over there to do a film, Carrie (1952) based on Theodore Dreiser's novel "Sister Carrie". Laurence tells their friends that his motive for going to Hollywood to make films is to get enough money to produce his own plays for the London stage. He even has his own theater there, the St. James. Now Sir Laurence, with a seat in the British House of Lords, is accompanied by Vivien the day the Lords are debating about whether the St James should be torn down. Breaking protocol, Vivien speaks up and is escorted from the House of Lords. The publicity helps raise the funds to save the St. James. Throughout their two-decade marriage Laurence and Vivien were acting together on the stage in London and New York. Vivien was no longer Lady Olivier when she performed her last major film role, The Roman Spring of Mrs. Stone (1961).

One of the leading sex symbols of the 1950s and 1960s, film actress Jayne Mansfield was born Vera Jayne Palmer on April 19, 1933 in Bryn Mawr, Pennsylvania, the only child of Vera J. (nee Palmer; later Peers) and Herbert W. Palmer. Her parents were well-to-do, with her father a successful attorney in Phillipsburg, New Jersey, where she spent a portion of her childhood. Her parents were both born with the same surname, and her ancestry was seven eighths English and Cornish and one eighth German. She was reportedly a talented pianist and played the violin when she was young.

Tragedy struck when Jayne was three, when her father suddenly died of a heart attack. Three years later, her mother remarried and she and her mother moved to Dallas, Texas, buying a small home where she had violin concerts in the driveway of their home. Her IQ was reportedly 163, and she attended the University of Dallas and participated in little-theater productions. In 1949, at the age of 16, she married a man five years her senior named Paul Mansfield. In November 1950, when Jayne was seventeen, their daughter, Jayne Marie Mansfield was born. The union ended in divorce but she kept the surname Mansfield as a good surname for an actress.

After some productions there and elsewhere, Jayne decided to go to Hollywood. Her first film was a bit role as a cigarette girl in Pete Kelly's Blues (1955). Although the roles in the beginning were not much, she was successful in gaining those roles because of her ample physical attributes which placed her in two other films that year, Hell on Frisco Bay (1955) and Illegal (1955). Her breakout role came the next year with a featured part in The Burglar (1957). By the time she portrayed Rita Marlowe in Will Success Spoil Rock Hunter? (1957) and Playgirl After Dark (1960), Jayne was now known as the poor man's Marilyn Monroe. She did not get the plum roles that Marilyn got in her productions. Instead, her films were more of a showcase for her body more than anything else. She did have a real talent for acting, but the movie executives insisted she stay in her dumb blonde stereotype roles. By the 1960s, her career had options that grew lower. She made somewhat embarrassing guest appearances like on the popular game show What's My Line? (1950), she appeared on the show four times in 1956, 1957, 1964, and 1966 and many other 1950s and 1960s game shows. By 1962, she was dropped from 20th Century Fox and the rest of her career had smaller options like being in B movies and low budget movies or performing at food stores or small nightclubs.

While traveling from a nightclub in Biloxi, Mississippi and 30 miles from New Orleans to where she was to be on television the following day, she was killed instantly on Highway 90 in Slidell, Louisiana in a car crash in the early hours of June 29, 1967, when the car in which she was riding slammed into the back of a semi-tractor trailer truck that had stopped due to a truck in front of the tractor trailer that was spraying for bugs. Her car went under the truck at nearly 80 miles per hour. Her boyfriend Samuel Brody and their driver Ronnie Harrison, were also killed. The damage to the car was so bad that the engine was twisted sideways. She was not, however, decapitated, as had long been misreported. She was 34 years old.

Mansfield's funeral was on July 3, 1967 and hundreds of people lined the main street of Pen Argyl for Mansfield's funeral, a small private ceremony at Fairview Cemetery in Plainfield (outside Pen Argyl), Pennsylvania (where her father was also buried), attended by her family. The only ex-husband to attend was Mickey Hargitay. Her final film, Single Room Furnished (1966), was released the following year. In 2000, Mansfield's 97 year old mother, Mrs. Vera Peers, was interred alongside Mansfield.

After Mansfield's death, Mansfield's mother, as well as her ex-husband Mickey Hargitay, William Pigue (legal guardian for her daughter, Jayne Marie), Charles Goldring (Mansfield's business manager), and Bernard B. Cohen and Jerome Webber (both administrators of the estate) all filed unsuccessful suits to gain control of her estate, which was initially estimated at $600,000 ($3,712,000 in 2018 dollars), including the Pink Palace (estimated at $100,000 ($619,000 in 2018 dollars)), a sports car sold for $7,000 ($43,000 in 2018 dollars), her jewelry, and Sam Brody's $185,000 estate left to her in his last will ($1,145,000 in 2018 dollars).

In 1971, Beverly Brody sued the Mansfield estate for $325,000 ($2,011,000 in 2018 dollars) worth of presents and jewelry given to Mansfield by Sam Brody; the suit was settled out of court.

In 1977, Mansfield's four eldest children (Jayne Marie, Mickey, Zoltan, and Mariska) went to court to discover that some $500,000 in debt which Mansfield had incurred ($3,093,000 in 2018 dollars) and litigation had left the estate insolvent.

Ann Sheridan won the "Search for Beauty" contest which carried with it a Paramount screen test. Signed to a contract at 18, she was put into a number of small roles under her real name of Clara Lou Sheridan. As she got better, her name was changed to Ann. In 1936, after two dozen films, she went to Warner Brothers, which billed her as the "Oomph Girl," a name she despised -- although she certainly looked the part. She was allowed to mature into a leading star who could be the girl next door or the tough-as-nails dame. She was in a lot of comedies and a number of forgettable movies, but the public liked her, and her career flourished. She also gave great performances such as the singer in Torrid Zone (1940) and the waitress in They Drive by Night (1940). In 1948, she was dropped by Warner Bros., but came back in Howard Hawks' comedy I Was a Male War Bride (1949) with Cary Grant. She continued to make films into the 1950s but retired before the end of the decade. She starred in the soap opera Another World (1964) and the western series Pistols 'n' Petticoats (1966). Unfortunately, just as her career was reviving with this series, she died of cancer.

Spencer Tracy was the second son born on April 5, 1900, to truck salesman John Edward and Caroline Brown Tracy in Milwaukee, Wisconsin. While attending Marquette Academy, he and classmate Pat O'Brien quit school to enlist in the Navy at the start of World War I. Tracy was still at Norfolk Navy Yard in Virginia at the end of the war. After playing the lead in the play "The Truth" at Ripon College he decided that acting might be his career.

Moving to New York, Tracy and O'Brien, who'd also settled on a career on the stage, roomed together while attending the Academy of Dramatic Arts. In 1923 both got nonspeaking parts as robots in "R.U.R.", a dramatization of the groundbreaking science fiction novel by Czech author Karel Capek. Making very little money in stock, Tracy supported himself with jobs as bellhop, janitor and salesman until John Ford saw his critically acclaimed performance in the lead role in the play "The Last Mile" (later played on film by Clark Gable) and signed him for The William Fox Film Company's production of Up the River (1930). Despite appearing in sixteen films at that studio over the next five years, Tracy was never able to rise to full film star status there, in large part because the studio was unable to match his talents to suitable story material.

During that period the studio itself floundered, eventually merging with Darryl F. Zanuck, Joseph Schenck and William Goetz's William 20th Century Pictures to become 20th Century-Fox). In 1935 Tracy signed with MGM under the aegis of Irving Thalberg and his career flourished. He became the first actor to win back-to-back Best Actor Oscars for Captains Courageous (1937) and, in a project he initially didn't want to star in, Boys Town (1938).

During Tracy's nearly forty-year film career, he was nominated for his performances in San Francisco (1936), Father of the Bride (1950), Bad Day at Black Rock (1955), The Old Man and the Sea (1958), Inherit the Wind (1960), Judgment at Nuremberg (1961), and Guess Who's Coming to Dinner (1967).

Tracy had a brief romantic relationship with Loretta Young in the mid-1930s, and a lifelong one with Katharine Hepburn beginning in 1942 after they were first paired in Woman of the Year by director George Stevens. Tracy's strong Roman Catholic beliefs precluded his divorcing wife Louise, though they mostly lived apart. Tracy suffered from severe alcoholism and diabetes (from the late 1940s), which led to his declining several tailor-made roles in films that would become big hits with other actors in those roles. Although his drinking problems were well known, he was considered peerless among his colleagues (Tracy had a well-deserved reputation for keeping co-stars on their toes for his oddly endearing scene-stealing tricks), and remained in demand as a senior statesman who nevertheless retained box office clout. Two weeks after completion of Stanley Kramer's Guess Who's Coming to Dinner (1967), during which he suffered from lung congestion, Spencer Tracy died of a heart attack.

William Claude Rains, born in the Clapham area of London, was the son of the British stage actor Frederick Rains. The younger Rains followed, making his stage debut at the age of eleven in "Nell of Old Drury." Growing up in the world of theater, he saw not only acting up close but the down-to-earth business end as well, progressing from a page boy to a stage manager during his well-rounded learning experience. Rains decided to come to America in 1913 and the New York theater, but with the outbreak of World War I the next year, he returned to serve with a Scottish regiment in Europe. He remained in England, honing his acting talents, bolstered with instruction patronized by the founder of the Royal Academy of Dramatic Arts, Herbert Beerbohm Tree. It was not long before his talent garnered him acknowledgment as one of the leading stage actors on the London scene. His one and only silent film venture was British with a small part for him, the forgettable -- Build Thy House (1920).

In the meantime, Rains was in demand as acting teacher as well, and he taught at the Royal Academy. Young and eager Laurence Olivier and John Gielgud were perhaps his best known students. Rains did return to New York in 1927 to begin what would be nearly 20 Broadway roles. While working for the Theater Guild, he was offered a screen test with Universal Pictures in 1932. Rains had a unique and solid British voice-deep, slightly rasping -- but richly dynamic. And as a man of small stature, the combination was immediately intriguing. Universal was embarking on its new-found role as horror film factory, and they were looking for someone unique for their next outing, The Invisible Man (1933). Rains was the very man. He took the role by the ears, churning up a rasping malice and volume in his voice to achieve a bone chilling persona of the disembodied mad doctor. He could also throw out a high-pitched maniac laugh that would make you leave the lights on before going to bed. True to Universal's formula mentality, it cast him in similar roles through 1934 with some respite in more diverse film roles -- and further relieved by Broadway roles (1933, 1934) for the remainder of his contract. By 1936, he was at Warner Bros. with its ambitious laundry list of literary epics in full swing. His acting was superb, and his eyes could say as much as his voice. And his mouth could take on both a forbidding scowl and the warmest of smiles in an instant. His malicious, gouty Don Luis in Anthony Adverse (1936) was inspired. After a shear lucky opportunity to dispatch his young wife's lover, Louis Hayward, in a duel, he triumphs over her in a scene with derisive, bulging eyes and that high pitched laugh -- with appropriate shadow and light backdrop -- that is unforgettable.

He was kept very busy through the remainder of the 1930s with a mix of benign and devious historical, literary, and contemporary characters always adapting a different nuance -- from murmur to growl -- of that voice to become the person. He culminated the decade with his complex, ethics-tortured Senator "Joe" Paine in Mr. Smith Goes to Washington (1939). That year he became an American citizen. Into the 1940s, Rains had risen to perhaps unique stature: a supporting actor who had achieved A-list stardom -- almost in a category by himself. His some 40 films during that period ranged from subtle comedy to psychological drama with a bit of horror revisited; many would be golden era classics. He was the firm but thoroughly sympathetic Dr. Jaquith in Now, Voyager (1942) and the smoothly sardonic but engaging Capt. Louis Renault -- perhaps his best known role -- in Casablanca (1942). He was the surreptitiously nervous and malignant Alexander Sebastian in Notorious (1946) and the egotistical and domineering conductor Alexander Hollenius in Deception (1946). He was the disfigured Phantom of the Opera (1943) as well. He played opposite the challenging Bette Davis in three movies through the decade and came out her equal in acting virtuosity. He was nominated four times for the Best Supporting Actor Oscar -- but incredibly never won. With the 1950s the few movies left to an older Rains were countered by venturing into new acting territory -- television. His haunted, suicidal writer Paul DeLambre in the mountaineering adventure The White Tower (1950), though a modest part, was perhaps the most vigorously memorable film role of his last years. He made a triumphant Broadway return in 1951's "Darkness at Noon."

Rains embraced the innovative TV playhouse circuit with nearly 20 roles. As a favored 'Alfred Hitchcock' alumnus, he starred in five Alfred Hitchcock Presents (1955) suspense dramas into the 1960s. And he did not shy away from episodic TV either with some memorable roles that still reflected the power of Claude Rains as consummate actor -- for many, first among peers with that hallowed title.

Basil Rathbone was born in Johannesburg, South Africa, in 1892, but three years later his family was forced to flee the country because his father was accused by the Boers of being a British spy at a time when Dutch-British conflicts were leading to the Boer War. The Rathbones escaped to England, where Basil and his two younger siblings, Beatrice and John, were raised. Their mother, Anna Barbara (George), was a violinist, who was born in Grahamstown, South Africa, of British parents, and their father, Edgar Philip Rathbone, was a mining engineer born in Liverpool. From 1906 to 1910 Rathbone attended Repton School, where he was more interested in sports--especially fencing, at which he excelled--than studies, but where he also discovered his interest in the theater. After graduation he planned to pursue acting as a profession, but his father disapproved and suggested that his son try working in business for a year, hoping he would forget about acting. Rathbone accepted his father's suggestion and worked as a clerk for an insurance company--for exactly one year. Then he contacted his cousin Frank Benson, an actor managing a Shakespearean troupe in Stratford-on-Avon.

Rathbone was hired as an actor on the condition that he work his way through the ranks, which he did quite rapidly. Starting in bit parts in 1911, he was playing juvenile leads within two years. In 1915 his career was interrupted by the First World War. During his military service, as a second lieutenant in the Liverpool Scottish 2nd Battalion, he worked in intelligence and received the Military Cross for bravery. In 1919, released from military service, he returned to Stratford-on-Avon and continued with Shakespeare but after a year moved onto the London stage. The year after that he made his first appearance on Broadway and his film debut in the silent Innocent (1921).

For the remainder of the decade Rathbone alternated between the London and New York stages and occasional appearances in films. In 1929 he co-wrote and starred as the title character in a short-running Broadway play called "Judas". Soon afterwards he abandoned his first love, the theater, for a film career. During the 1920s his roles had evolved from the romantic lead to the suave lady-killer to the sinister villain (usually wielding a sword), and Hollywood put him to good use during the 1930s in numerous costume romps, including Captain Blood (1935), David Copperfield (1935), A Tale of Two Cities (1935), Anna Karenina (1935), The Last Days of Pompeii (1935), The Adventures of Robin Hood (1938), Tower of London (1939), The Mark of Zorro (1940) and others. Rathbone earned two Oscar nominations for Best Supporting Actor as Tybalt in Romeo and Juliet (1936) and as King Louis XI in If I Were King (1938).

However, it was in 1939 that Rathbone played his best-known and most popular character, Sherlock Holmes, with Nigel Bruce as Dr. Watson, first in The Hound of the Baskervilles (1939) and then in The Adventures of Sherlock Holmes (1939), which were followed by 12 more films and numerous radio broadcasts over the next seven years.

Feeling that his identification with the character was killing his film career, Rathbone went back to New York and the stage in 1946. The next year he won a Tony Award for his portrayal of Dr. Sloper in the Broadway play "The Heiress," but afterwards found little rewarding stage work. Nevertheless, during the last two decades of his life, Rathbone was a very busy actor, appearing on numerous television shows, primarily drama, variety and game shows; in occasional films, such as Casanova's Big Night (1954), The Court Jester (1955), Tales of Terror (1962) and The Comedy of Terrors (1963); and in his own one-man show, "An Evening with Basil Rathbone", with which he toured the U.S.

Fittingly known to be a "Leo" for his horoscope, Bert Lahr is always remembered as the Cowardly Lion in (and the farmer "Zeke") The Wizard of Oz (1939). But during his acting career, he has been known for being in burlesque, vaudeville, and Broadway.

Dropped out of high school at the age of fifteen for a juvenile vaudeville act, Lahr worked his way up to the top billing of the Columbia Burlesque Circuit. When in Broadway, Lahr usually plays a comic actor in plays which he starred in such as the classic routine The Song of the Woodman, which he would later perform in Merry-Go-Round of 1938 (1937).

Aside from The Wizard of Oz (1939), Lahr's movie career never caught on because his gestures and reactions were too broad. Lahr died in 1967.

One of the saddest tales ever to come out of Hollywood has to be that of Barbara Payton. A blue-eyed, peroxide blonde sexpot who had a lot going for her, her life eventually disintegrated, mostly by her own doing. Things started out well enough for Barbara Lee Redfield, born on November 26, 1927, in Cloquet, Minnesota. From a modest, blue-collar background, she grew up to be a drop-dead gorgeous young woman and, following a quickie marriage at age 19, decided to leave home for good to try to capitalize on her good looks in Tinseltown. She headed for Hollywood in 1948 and, within a short time, was placed under contract by Universal, where she began the typical starlet route of bit parts. She reached her peak with routine but promising co-star work opposite James Cagney in Kiss Tomorrow Goodbye (1950), Gary Cooper in Dallas (1950) and Gregory Peck in Only the Valiant (1951). Although her talent was overshadowed by her brassiness and looks, her slightly lurid appeal seemed to be enough to carry her through. Caught up in the glitz and glamour, however, her career started taking second place to a reckless life full of capricious romances involving a number of top stars and producers, many of them married. One of her more famous trysts ended up making headlines for her, and none of them favorable. She was juggling two boyfriends at the same time, classy "A" actor Franchot Tone and muscular "B" actor Tom Neal, and they fought almost to the death for Barbara's affections. On September 13, 1951, the men engaged in a deadly brawl and when it was over, Tone was in the hospital with broken bones and a brain concussion. Barbara ended up with both a black eye and a tarnished reputation. She married Tone after he recovered, but left him after only seven weeks and returned to the violence-prone Neal. That abusive relationship lasted four years, though they never married. During that time Barbara's career had plummeted to the point where she was making such dismal features as Bride of the Gorilla (1951). She went to England to try to rejuvenate her career, but no dice; it was over and her life was skidding out of control. Her once beautiful face now blotchy and her once spectacular figure now bloated, Barbara sank deeper into the bottle. From 1955 to 1963 there were various brushes with the law - among them passing bad checks, public drunkenness and, ultimately, prostitution. She was forced to sleep on bus benches, was beaten and bruised by her tricks, and lost teeth in the process. In 1967, after failed efforts to curb her drinking, she finally moved in with her parents in San Diego to try to dry out. It was too late. On May 8, 1967, the 39-year-old former starlet was found on the bathroom floor - dead of heart and liver failure. Somehow through all this misery she managed a tell-all book ironically entitled "I Am Not Ashamed" (1963).

This dark, debonair, dashing and extremely distinguished Austrian actor was christened Adolf Wohlbrück in Vienna, the scion of a family of circus clowns. He broke away easily from generations of tradition as the circus life had no appeal whatsoever to Walbrook.

Trained by the legendary director Max Reinhardt, Walbrook's reputation grew on both the Austrian and German stages. In between he managed a couple of undistinguished roles in silent films. Billed as Adolf Wohlbrück, the youthfully handsome actor graced a number of romantic films come the advent of sound beginning in 1931. Among them Waltz War (1933) and the gender-bending comedy Victor and Victoria (1933), which later served as the inspiration and basis for Blake Edwards' own Victor/Victoria (1982) starring wife Julie Andrews. Hollywood beckoned in the late 30s for Walbrook to re-shoot dialog for an upcoming international picture The Soldier and the Lady (1937) again playing Michael Strogoff, a role he had played impeccably in both previous French and German adaptations. With the rise of oppression in Nazi Germany he moved to Great Britain and took his trademark mustache and dark, handsome features to English language films where he went on to appear to great effect.

Portraying a host of imperious kings, bon vivants and and foreign dignitaries over the course of his career, he played everything from composer Johann Strauss to the Bavarian King Ludwig I. With a tendency for grand, intense, over-the-top acting, he was nevertheless quite impressive in a number of portrayals. Such included the sympathetic German officer in the landmark Powell and Pressburger satire The Life and Death of Colonel Blimp (1943) and gentle pacifist in another of their collaborations 49th Parallel (1941); as Prince Albert in the black-and-white glossy costumer Victoria the Great (1937) immediately followed by its color remake Queen of Destiny (1938) both opposite Anna Neagle's Queen Victoria; and, most notably, as the obsessively demanding impresario opposite ballerina Moira Shearer in the romantic melodrama The Red Shoes (1948). His stiff and stern military officers were just as notable which included sterling work in The Queen of Spades (1949) and last-speaking English film I Accuse! (1958).

He retired from films at the end of the 1950s, and in later years returned to the European stage and included television roles to his resume. He died in Germany in 1967 of a heart attack.

Missouri-born Jane Darwell was born Patti Woodard, the daughter of William Robert Woodard, president of the Louisville Southern Railroad, and Ellen (Booth) Woodard, in Palmyra, Missouri, where she grew up on a ranch . She nursed ambitions to be an opera singer, but put it off because of her father's disapproval (she eventually changed her name to Darwell from the family name of Woodard so as not to "sully" the family name). Making her stage debut at age 33, she was almost 40 when she made her first film, a silent, in 1913.

She easily made the transition from silents to talkies, and specialized in playing kindly, grandmotherly types. Her most famous role was as Ma Joad, the glue that held the Joad family together, in the classic The Grapes of Wrath (1940), for which she won the Academy Award. She was, however, memorably cast against type in The Ox-Bow Incident (1942), as the shrewish, cackling Ma Grier, a lynch mob leader, and again in Caged (1950), as the unsympathetic prison matron in charge of the isolation ward.

She made over 200 films. Her last, Mary Poppins (1964), was made at the express request of Walt Disney; she had retired and was living at the Motion Picture Country Home and Disney came out personally to ask her to appear in the film, after which she went back into retirement. She died in 1967 after suffering a stroke and a heart attack, and was interred at Forest Lawn Memorial Park in Glendale, California.

The radiant Françoise Dorléac is better remembered today as the elder, ill-fated sister of French film star Catherine Deneuve. The Paris-born actress, however, was actually the first to become a star and had quite a formidable career of her own in the 1960s until it was cut short. Born into a theatrical family in 1942 (her father was actor Maurice Dorléac), Françoise first appeared on stage at the age of 10.

Entering the film industry with the movie short Mensonges (1957), she studied at the Conservatoire d'Art Dramatique (1959-1961) and had modeled for Christian Dior by the time she started making any kind of cinematic impact. Slim, gamine, pale-skinned and a real brunette stunner, Françoise graced a number of movies before hitting celebrity stardom with François Truffaut's melodrama The Soft Skin (1964) and the classic James Bond-like spy spoof That Man from Rio (1964), both released in 1964. The two films showed the polar sides of Françoise's incredible allure and talent. In the former she played an airline stewardess who falls into a tragic affair with a married businessman (Jean Desailly) and in the latter she played a fun and flaky heroine opposite Jean-Paul Belmondo. Unlike Catherine, Françoise proved a carefree, outgoing presence both on and off camera. Known for her chic, stylish ways and almost unbridled sense of joie-de-vivre, she continued making strong marks as the adulterous wife in Roman Polanski's black comedy Cul-de-sac (1966) and even joined Gene Kelly, George Chakiris, and her sister, who was now a cinematic star by this time too, in the rather candy-coated The Young Girls of Rochefort (1967), a colorful movie which paid homage to the Hollywood musical. She and Catherine, who looked quite similar, played singing twins who dream about living in Paris.

Her fun and funny side was always an asset and often revealed as in the films as Arsène Lupin contre Arsène Lupin (1962) and Male Hunt (1964). Branching out now in such non-French movies as Genghis Khan (1965), Where the Spies Are (1965), and Billion Dollar Brain (1967), the luminous Françoise was on the brink of international stardom when her rental car flipped and burned on a roadway in Nice, France on June 26, 1967. She was near completion of the last film mentioned at the time the accident occurred. Her part in the movie was left intact. Her early death at age 25 most certainly robbed the cinema of a tried and true talent and incomparably beautiful mademoiselle who showed every sign of taking Hollywood by storm, as Catherine later did.

American character actor of gruff voice and appearance who was a fixture in Hollywood pictures from the earliest days of the talkies. The fifth of seven children, he was born in the first minute of 1891. He was a boisterous child, and at nine was tried and acquitted for attempted murder in the shooting of a motorman who had run over his dog. He worked as a lumberjack and investment promoter, and briefly ran his own pest extermination business. In his late teens, he gave up the business and traveled aimlessly about country. In San Francisco, an attempt to romance a burlesque actress resulted in an offer to join her show as a performer. He spent the next dozen years touring the country in road companies, then made a smash hit on Broadway in "Outside Looking In". Cecil B. DeMille saw Bickford on the stage and offered him the lead in Dynamite (1929). Contracted to MGM, Bickford fought constantly with studio head Louis B. Mayer and was for a time blacklisted among the studios. He spent several years working in independent films as a freelancer, then was offered a contract at Twentieth Century Fox. Before the contract could take effect, however, Bickford was mauled by a lion while filming 'East of Java (1935)'. He recovered, but lost the Fox contract and his leading man status due to the extensive scarring of his neck and also to increasing age. He continued as a character actor, establishing himself as a character star in films like The Song of Bernadette (1943), for which he received the first of three Oscar nominations. Burly and brusque, he played heavies and father figures with equal skill. He continued to act in generally prestigious films up until his death in 1967.

One of the memorable purveyors of screen villainy in the '60s, Theo graduated with a B.A. and M.A. in classical literature from Stanford University and was at one time artist-in-residence. The son of fur designer Theodore Meyer Marcuse (1893-1983), he served with distinction as a lieutenant aboard the USS Tirante during World War II, earning himself a Silver Star and other citations for bravery. After the war, he trained as an actor with the company of Guthrie McClintic. Specializing in Shakespearean roles, he made his Broadway debut in 1947 with "Antony and Cleopatra" (as Demetrius) opposite Katharine Cornell. He then appeared in "Medea"' (1949) with Judith Anderson, again staged and produced by McClintock; and "King Richard II" (1951) with Betsy Blair and Maurice Evans. At the 1959 Oregon Shakespearean Festival Theo acted in both "Twelfth Night" and in "The Life and Death of King John"'.

His classical training stood him in good stead for the menacing roles he was tasked to play on screen, added to which was his somewhat sinister, bald-pated and shifty-eyed appearance. He also looked quite a bit older than his years may have suggested. Theo spent a long time serving his apprenticeship in smallish parts until he established a reputation as a skilled dialectician, ideally cast as assorted eastern Europeans, arrogant Nazi officers or crime figures of Arabic, Italian or Jewish extraction. He frequently veered towards comedic interpretations of villainy, notably for Get Smart (1965) and Hogan's Heroes (1965). His Zoltan Schubach in the spy spoof The Last of the Secret Agents? (1966) (almost certainly a parody of Bond super villain Ernst Stavro Blofeld) may well have inspired the Austin Powers character Dr. Evil.

On occasion, Theo escaped his typecasting. He was particularly effective as the sympathetic scientist Dr. Noel Markham in "The Leeches", one of the best early episodes of The Invaders (1967). He is particularly well-remembered as Korob, an extra-galactic life-form in humanoid shape who captured several crew members of the Enterprise in the Star Trek (1966) episode "Catspaw"'.

Theo's life was tragically cut short at the age of 47 as a result of a car crash while driving under the influence.

Brawn won out over brain as well when it came to wrestler athlete Nat Pendleton's professional movie career. For two decades, this massively-built, dark-haired, good-looking lug played a number of kind-hearted lunkheads, goons, henchmen and Joe Palooka-like buffoons.

Nathaniel Greene Pendleton was born on August 9, 1895 on a farm close to Davenport, Iowa. The son of Nathaniel G. Pendleton, a lawyer, and mother Adelaide Elizabeth Johnson, the family moved to Cincinnati, Ohio when Nat was a mere two months of age. His uncle was well-known Cincinnati-born D.W. Griffith silent player Arthur V. Johnson.

After the family's move from Ohio to New York, Nat became star of Brooklyn's Poly Prep High School wrestling team and later went to Collumbia University where he became a popular athletic presence, never losing a match in college and serving on the 1915 team as their captain. Following a couple of national titles, he competed at the Olympics in Antwerp, Belgium in 1920 and won the heavyweight silver medal in what many say was a controversial decision (to Pendleton's advantage). Nat turned pro after this and was undefeated in his two years of competition. He grew disillusioned when he was unable to arrange money bouts with Jack Dempsey and Ed Lewis aka "Strangler" reportedly due to his lack of a flashy enough reputation.

With his athletic image intact, Nat decided to follow his Uncle Arthur into acting in the mid-20s, making his debut in the film The Hoosier Schoolmaster (1924). Several other films followed, mostly in sports-minded themes. He also set his powerful frame on the Broadway stage, with roles in "Naughty Cinderella" (1925), "The Grey Fox" (1928) and as Marcel the Great in the hit comedy "His Girl Friday" (1929). A truckload of films came his way by the early 1930s, including The Spirit of Notre Dame (1931) in which he played an assistant coach, and in both the Marx Bros.' farcical comedy Horse Feathers (1932) with Thelma Todd, and Deception (1932), again with Todd, based on a story Pendleton himself wrote. He played football stars in both. In addition, he and Ward Bond played wrestlers in the Wallace Beery starrer Flesh (1932).

Among Pendleton's other film highlights include his gangsters in Sing and Like It (1934) with Zasu Pitts and The Gay Bride (1934) with Carole Lombard; his policemen in The Thin Man (1934) and Another Thin Man (1939); strongman Sandow in The Great Ziegfeld (1936); another dimbulb wrestler in Swing Your Lady (1938) starring Humphrey Bogart and Louise Fazenda; a barkeep in Northwest Passage (1940) starring Spencer Tracy; _a haranguing officer/nemesis to Abbott and Costello in Buck Privates (1941) and several Dr. Kildare medical dramas as hunky ambulance driver/comedy relief Joe Wayman. A rare prime starring role was the title part as Top Sergeant Mulligan (1941) for Poverty Row's Monogram Pictures.

Following his final film part reprising the badgering sergeant in Buck Privates Come Home (1947), Nat turned to TV before retiring in 1956. The twice-married actor/wrestler died of a heart attack on October 12, 1967 at age 72.

Anthony Mann was born on 30 June 1906 in San Diego, California, USA. He was a director and writer, known for Men in War (1957), El Cid (1961) and The Glenn Miller Story (1954). He was married to Anna, Sara Montiel and Mildred Mann. He died on 29 April 1967 in London, England.

Tom Conway played "The Falcon" in ten of that series' entries. He starred in three Val Lewton horror classics. He appeared in comedies, musicals, two Tarzan films and even science fiction films.

He was early television's Detective Mark Saber, but Conway will probably be best remembered as George Sanders' brother.

Born into a wealthy family in pre-Bolshevik Revolution Russia, Thomas Charles Sanders might have followed his father as a rope manufacturer and inherited several estates. Had the family not been forced to flee to England, the brothers Sanders may never have added their names to the Hollywood saga.

But the Russian Revolution came, and Tom (age 13), George (age 11), sister Margaret (age 5), together with their parents, fled to England, leaving most of their wealth in the hands of the Bolsheviks.

The brothers attended Dunhurst and Bedales, private schools, and eventually Brighton College.

After college, Tom went to Northern Rhodesia where he worked in gold, copper and asbestos mines and even attempted ranching. Frustrated and "pretty well fed up to the teeth" with his failures, he borrowed passage home. In England, Conway worked as an engineer in a carburetor company and later sold safety glass.

He was discovered by a representative from a little theater group who persuaded him to join them. Conway eventually worked for the Manchester Repertory Company and toured with them in over twenty-five plays. He also appeared in BBC radio broadcasts.

Brother George persuaded him to come to Hollywood. To prevent confusion on the part of the public, they tossed a coin to see who would have to change his name. Tom lost, thereby becoming Tom Conway.

Conway began work at MGM, eventually appearing as a contract player in twelve films there, including a bit part in Mrs. Miniver (1942).

Brother George, tiring of B-film appearances in RKO's Falcon series and with better roles at two studios looming on the horizon, offered Tom his first big break. In The Falcon's Brother (1942), George was conveniently eliminated by a Nazi sniper so that Tom, as Tom Lawrence, could inherit the role. Conway played the role with even greater success than that of his brother in the next ten installments, concluding with The Falcon's Adventure (1946).

During those years, he also appeared in Val Lewton's Cat People (1942), I Walked with a Zombie (1943) and The Seventh Victim (1943). These led to two major film appearances, Universal's One Touch of Venus (1948), with Ava Gardner and Eve Arden and Warner Brothers' Painting the Clouds with Sunshine (1951).

Amidst the collapse of the studio system, Tom found his opportunities shrinking. There were to be no further major roles for him. His next film was Bride of the Gorilla (1951).

Alert to new possibilities for work, he accepted the part of homicide detective Mark Saber in the television series, Mark Saber (1951). Conway also made several mystery films in England during the same period. He played a cameo role as a bearded and be-wigged Sir Kay in Prince Valiant (1954) with two brief lines.

Back in the states, there were guest appearances on TV's Rawhide (1959), Adventures in Paradise (1959), and Perry Mason (1957).

In October, 1957, Tom turned in a brilliant performance as ventriloquist Max Collodi in Alfred Hitchcock Presents (1955) chilling tale "The Glass Eye". He appeared regularly as the boyfriend on the The Betty Hutton Show (1959).

Conway also lent his voice to One Hundred and One Dalmatians (1961). His final appearance was an uncredited part, in What a Way to Go! (1964).

Failing eyesight and prolonged bouts with alcohol took their toll on Conway in his last years. His second wife, Queenie Leonard divorced him in 1963. George Sanders broke off all contact with him over his drinking.

Conway underwent cataract surgery during the winter of 1964/65. In September of 1965 Tom briefly returned to the headlines when he was discovered living in a $2-a-day room in a Venice, California flophouse. Gifts, contributions and offers of aid poured in - for a time. Conway, still standing tall and trim, his hair now white, peered owl-like through thick-lensed glasses at the newspaper cameras.

His last years were marked with further visits to the hospital. It was there that former sister-in-law Zsa Zsa Gabor visited him one day and gave him $200. "Tip the nurses a little bit so they'll be good to you," she told him. The following day, the hospital called her to say that Conway had left with the $200, gone to his girlfriend's and died in her bed.

Richard Reeves was born on 10 August 1912 in New York City, New York, USA. He was an actor, known for Target Earth (1954), Adventures of Superman (1952) and I Love Lucy (1951). He died on 17 March 1967 in Northridge, California, USA.

Perpetually serious-looking New York-born character actor, who showed up to good effect in many TV shows of the 1950s and '60s. His quietly authoritarian demeanor lent itself ideally to portraying characters with badges or uniforms: Sheriff Heck Tate in To Kill a Mockingbird (1962), General Bogan of Strategic Air Command in Fail Safe (1964) and Major Harvey Stovall of Bomber Group 918 in 12 O'Clock High (1964). The latter was his only recurring role on television and he made the most of it, being strongly featured in several of the episodes. Prior to his well-remembered role as Elias Sandoval on the Star Trek (1966) episode, This Side of Paradise (1967), he had made notable appearances on two other science fiction series.

He was twice featured on The Twilight Zone (1959). On the episode, Walking Distance (1959), he played the father of advertising executive Martin Sloan (Gig Young), who, unhappy with his life such as it is, has somehow time-traveled back to his hometown. Sloan finds, to his delight, that everything has remained unchanged from the time of his childhood. In a superbly-acted and touching scene, the elder Sloan (having come to terms with the identity of the stranger), asks his son to leave, because there can only ever be "one summer per customer". In contrast, Overton's chill, austere Sheriff Harry Wheeler on Mute (1963) was the antithesis of his character on "Walking Distance", devoid of compassion or understanding. Overton also appeared as an unsympathetic physician on The Invaders (1967) episode, Genesis (1967).

Overton's characterizations on stage largely paralleled those on screen. He made his first stab at Broadway as a lieutenant in Elia Kazan's comedy 'Jacobowsky and the Colonel', written by S.N. Behrman. The play ran for 417 performances from 1944 to 1945. He played another sheriff in 'The Trip to Bountiful' (1953) and replaced James Gregory as deputy Jesse Bard in the original stage version of 'The Desperate Hours' (1955). His most successful performance was as Morris Lacey in 'The Dark at the Top of the Stairs' (1957-59), a role he reprised for the film version of 1960.

An actor who always looked older than his years, Frank Emmons Overton died of a heart attack in April 1967, aged only 49.

Frank McGrath was born on 2 February 1903 in Mound City, Missouri, USA. He was an actor, known for The Reluctant Astronaut (1967), Wagon Train (1957) and Tammy and the Millionaire (1967). He was married to Libby Quay Buschlen. He died on 13 May 1967 in Hollywood, California, USA.

Nina Mae McKinney is known as the seductress "Chick" from Hallelujah (1929), the first all-black, all-sound musical. Even though she was acknowledged as a great actress, singer and dancer by audiences in the U.S. and Europe, today she is mostly forgotten. She certainly had the looks, enthusiasm, and acting talent to succeed. But as she and other black women of her time learned, there wasn't much work for a black woman other than as a maid, "mammy" figure, or prostitute. Hollywood was scared to take a chance on an attractive black woman, to make her into a glamorous sex symbol as they would with an attractive white actress. There would be no true glamorous black female sex symbol until Lena Horne's arrival in 1942. Nina learned, as did other black actresses, that there was little success to be had after an initial big splash.

McKinney was born in 1913 in the small town of Lancaster, South Carolina, eventually to become an international figure as an actress, singer and band leader. Her given name was Nannie Mayme McKinney. Her parents, Hal and Georgia McKinney, moved from Lancaster to New York City and left the child with her great-aunt, Carrie Sanders. "Aunt Carrie" lived in a small apartment in the backyard of Col. Leroy Springs, father of businessman and flying ace Elliott White Springs. Aunt Carrie worked as a cook and housekeeper for the Springs family. As soon as Nannie Mayme was old enough she ran errands for Lena Jones Springs, who gave her a bicycle to ride to the post office to pick up the mail. Nannie Mayme's first public performances were riding stunts, or "cutting capers", as amazed bystanders called it. She appeared in plays at the black Lancaster Industrial School (founded by Springs), where she quickly learned the lines of the entire cast.

At about age 13 she headed for New York to stay with her mother, Georgia Crawford McKinney. Choosing Nina Mae as her stage name, she managed to get a job as a chorus girl in the Broadway play "Blackbirds". Her lively performance caught the attention of MGM producer/director King Vidor, who gave her a starring role in Hallelujah (1929). It was the first all-black sound musical features, even though many theaters billed the film as "a story of murder and redemption in the Deep South." This melodrama was not widely acclaimed at the time, but movie historians now see it as an interesting introduction to black theater (one critic described it as having "a crude power").

Nina was signed by MGM to a five-year contract, but in that period she made only two films, Safe in Hell (1931) and Reckless (1935) (in which she didn't even appear on screen; she dubbed Jean Harlow's songs). Hollywood could accept black character actresses like Hattie McDaniel and Butterfly McQueen having a close relationship with white characters in a film, but would not allow a beautiful black actress the same natural role. However, her first film gave her the opportunity to appear in a number of all-black cast or black-themed films, including Sanders of the River (1935) with Paul Robeson, Dark Waters (1944) and Pinky (1949) (as Rozelia), which is considered her finest film.

She had much more success on stage. She played Jeanne Eagels' role in "Rain" at Harlem's famed Apollo Theatre. She proved that she could well have become one of America's enduring performers--she had the talent, the beauty, and the star power, but she realized that the doors to real success were permanently barred to her in Hollywood. She soon left the U.S. for Europe. She made film and stage appearances all over the Continent, from Paris and London to Dublin and Budapest, and became known as "The Black Garbo".

When war broke out in Europe she returned to New York, where she married jazz musician Jimmy Monroe and put together a band and toured the country. In the 1950s and 1960s she lived in Athens, Greece, where she was known as the "Queen of Night Life." In the late 1960s she came back to New York but did not perform, and died in New York City in 1967, at age 54, of a heart attack. Her death went virtually unnoticed; trade papers such as Variety and black publications such as Jet and Ebony didn't even print an obituary, and one newspaper that did only called her an "entertainer" and didn't name the church where the funeral would be held.

Not everyone forgot her, though; in her home town of Lancaster, South Carolina, on a wall across from the Courthouse, is a mural with portraits of famous people from Lancaster. Among them two faces stand out. One is former President Andrew Jackson. The other is Nina.

Paul Muni was born Sept. 22, 1895, in Lemberg, Austro-Hungarian Empire, to Salli and Phillip Weisenfreund, who were both professionals. His family was Jewish, and spoke Yiddish. Paul was educated in New York and Cleveland public schools. He was described as 5 feet 10 inches, with black hair and eyes, 165 pounds. He joined the Yiddish Art Theatre in New York (1908) for 4 years, and then moved to other Yiddish theaters until 1926, when he "went into an American play" called "We Americans", his first English-language role. In 1927-28, he appeared in the plays "Four Walls", "This One Man", "Counsellor-at-Law", and others. He began with Fox in 1928. He would later alternate between Broadway and Hollywood for his roles, becoming one of the more distinguished actors in either venue. Failing eyesight and otherwise poor health forced him into retirement after his appearance in The Last Angry Man (1959).

Sometime in the early 1930s, Denny was between scenes on a movie set when he met a neighborhood boy who was trying to fly a bulky gas-powered model plane. When he tried to help by making an adjustment on the machine, Denny succeeded only in wrecking it. But this launched his infatuation with model aviation, and his new hobby grew into Reginald Denny Industries, maker of model plane kits.

When the U.S. Army began hunting for a better and safer way to train anti-aircraft gunners than using targets towed by piloted planes, Denny and his associates Walter Righter and Paul Whittier began work on a radio-controlled target drone, and their third prototype won them an Army contract. Radioplane was formed in 1940, and during WWII produced nearly 15,000 target drones (the RP-5A) for the Army. Radioplane was later purchased by Northrop in 1952.

A minor prototype of the "Runyon-esque" character for more than three decades, Polish-born actor George E. Stone (né Gerschon Lichtenstein, on May 18, 1903) was, in actuality, a close friend of writer Damon Runyan and would play scores of colorful "dees, dem and dos" cronies throughout the 1920s, '30s, and '40s. With great names such as Johnnie the Shiek, Boots Burnett, Ice Box Hamilton, Wires Kagel, Ropes McGonigle, Society Max, and Toothpick Charlie, Stone delighted audiences in scores of crimers for decades.

A vaudeville and Broadway hoofer in the interim, the runt-sized Stone (5'3") finally scored in his first "grownup" part as the Sewer Rat in the silent drama 7th Heaven (1927) starring the once-popular romantic pair Charles Farrell and (Academy Award winner) Janet Gaynor. As "Georgie" sounded too child-like, he began billing himself as "George E. Stone." From there he was featured in a number of "tough guy" potboilers, particularly for Warner Bros. So typed was he as a henchman or thug, that he found few films outside the genre. His gunsels often possessed a yellow streak and could be both broadly comic or threatening in nature, with more than a few of them ending up on a morgue slab before film's end, including his Earl Williams on The Front Page (1931) and Otero in the classic gangster flick Little Caesar (1931).

Included in George's many films were a number of Oscar-quality pictures , including The Racket (1928), Cimarron (1931), Five Star Final (1931), 42nd Street (1933), Viva Villa! (1934), Anthony Adverse (1936), North West Mounted Police (1940), Pickup on South Street (1953), The Robe (1953), Broken Lance (1954), The Man with the Golden Arm (1955), Guys and Dolls (1955), Some Came Running (1958), Some Like It Hot (1959), Pocketful of Miracles (1961). Arguably, Stone's most popular, if not prolific, role was when he replaced Charles Wagenheim as The Runt in the second of the "Boston Blackie" film series, Confessions of Boston Blackie (1941) that starred Chester Morris as the title detective. The series lasted eight years.

Suffering from failing eyesight in later years, George was virtually blind by the late 1950s but, thanks to friends, managed to secure sporadic film and TV work. From 1958 on, Stone could be glimpsed in a recurring role on the popular courtroom series Perry Mason (1957) as a court clerk. Married to second wife Marjorie Ramey in 1946, 64-year-old George died following a stroke on May 26, 1967 in Woodland Hills, California, and was survived by two sisters.

Berlin-born actress Kaaren Verne (sometimes billed as Karen) was born Ingeborg Catherine Marie Rose Klinkerfuss in 1918. Originally a stage actress and member of the Berlin State Theatre, she and her first husband, Arthur Young, fled their homeland in 1938. She began her career in England as a model and eventually signed with 20th Century-Fox for films. No movies came out of this agreement, however, but her screen test interested Fox, making her debut with the drama Missing Ten Days (1940) starring Rex Harrison.

Jumping on the popular foreign bandwagon during WWII along with other European hopefuls, this highly attractive blonde turned in strong lead and second lead roles throughout the early 1940s. An MGM contract led to a couple of films (Sky Murder (1940) and The Wild Man of Borneo (1941)). A freelance contract with Warner Bros. stabilized things a bit. The Teutonic actress initially intended to "Americanize" her stage name to the more acceptable Catherine Young, but her vehement anti-Nazi sentiment made for more publicity and stronger audience identification, so the name of Kaaren Verne quickly returned. She appeared frequently as mysterious ladies in both propaganda films such as Underground (1941) and whodunit mysteries, keeping Walter Pidgeon's Nick Carter and Basil Rathbone's Sherlock Holmes on their toes. For the most part she remained in the "B" movie realm.

Kaaren had a couple of fine chances for stardom. She shared a touching scene with Robert Cummings in the classic soaper Kings Row (1942) and appeared opposite Humphrey Bogart as a romantic interest in All Through the Night (1942), a combination gangster/spy film. One of Bogie's lesser known movies, the best thing it did for Kaaren was introduce her to one of her co-stars Peter Lorre. Divorcing first husband Arthur Young, by whom she had a son, Alastair, she quickly married Lorre in 1945 and put her career on hold for a time. The turbulent union was rather brief, however, lasting only five years before separating in 1950 and finally divorcing two years later. During the course of that marriage, she attempted suicide more than once. Upon their divorce, she made herself available again for films but the wind had already been kicked out of her career sails. Kaaren found some sporadic TV work but they were minor and few and far between. Her looks grew hard and coarse over time and she moved wisely into small, drab character parts, usually as a world-weary matron. One of her last movie roles was the minor part of the hausfrau and mother to Gila Golan in the all-star epic picture Ship of Fools (1965).

Kaaren, who had married a third time, died quite suddenly in her Hollywood home during Christmas week in 1967, looking much older than her 49 years. Her death is somewhat of a mystery. Some sources say she committed suicide; others claim she died of a heart ailment. She was buried at Calvary Cemetery in Minnesota and was survived by her third husband, theatre and film critic/historian James Powers, and an adopted daughter.

Wonderfully talented German-born actor, capable of tremendous comedic and dramatic performances, usually as some type of pompous bureaucrat or similarly arrogant individual. Ruman was born on October 11, 1884, in Hamburg, Germany, and actually studied electrotechnology in college before making the switch to acting. He served with the Imperial German Forces in World War I before coming to the United States in 1924. He became friendly with playwright George S. Kaufman and critic Alexander Woollcott and was regularly appearing in high-quality stage productions on Broadway.

With the advent of talkies, he was kept very busy in the cinema and became a favorite of the Marx Brothers, appearing as stiff-shirted NYC opera owner Herman Gottlieb in the comedy classic A Night at the Opera (1935). He played a know-it-all surgeon crossing swords with Groucho Marx over what exactly was wrong with hypochondriac Margaret Dumont in A Day at the Races (1937). and a dual role in A Night in Casablanca (1946). With his German accent, he was also a regular in several WWII espionage thrillers, including Confessions of a Nazi Spy (1939), They Came to Blow Up America (1943), and The Hitler Gang (1944), and gave a superb portrayal of the two-faced POW guard Schulz in the splendid Stalag 17 (1953). He was also popular with famed director Ernst Lubitsch, who cast Ruman in Ninotchka (1939), and To Be or Not to Be (1942). In all, he notched up over 100 feature film appearances as well as guest star spots on many TV shows.

Ruman suffered ill health for the final two decades of his life and passed away on February 14, 1967, from a heart attack.