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James Byron Dean was born February 8, 1931 in Marion, Indiana, to Mildred Marie (Wilson) and Winton A. Dean, a farmer turned dental technician. His mother died when Dean was nine, and he was subsequently raised on a farm by his aunt and uncle in Fairmount, Indiana. After grade school, he moved to New York to pursue his dream of acting. He received rave reviews for his work as the blackmailing Arab boy in the New York production of Gide's "The Immoralist", good enough to earn him a trip to Hollywood. His early film efforts were strictly small roles: a sailor in the Dean Martin and Jerry Lewis overly frantic musical comedy Sailor Beware (1952); a GI in Samuel Fuller's moody study of a platoon in the Korean War, Fixed Bayonets! (1951) and a youth in the Piper Laurie-Rock Hudson comedy Has Anybody Seen My Gal (1952).

He had major roles in only three movies. In the Elia Kazan production of John Steinbeck's East of Eden (1955) he played Cal Trask, the bad brother who could not force affection from his stiff-necked father. His true starring role, the one which fixed his image forever in American culture, was that of the brooding red-jacketed teenager Jim Stark in Nicholas Ray's Rebel Without a Cause (1955). George Stevens' filming of Edna Ferber's Giant (1956), in which he played the non-conforming cowhand Jett Rink who strikes it rich when he discovers oil, was just coming to a close when Dean, driving his Porsche Spyder race car, collided with another car while on the road near Cholame, California on September 30, 1955. He had received a speeding ticket just two hours before. At age 24, James Dean was killed almost immediately from the impact from a broken neck. His very brief career, violent death and highly publicized funeral transformed him into a cult object of apparently timeless fascination.

Hungarian-born S.Z. Sakall was a veteran of German, Hungarian and British films when he left Europe because of the rise of Adolf Hitler and the Nazi movement. In Hollywood from shortly after the outbreak of World War II, Sakall began appearing in comedies and musicals, often playing a lovable if somewhat excitable and/or befuddled uncle, businessman or neighborhood eccentric. Memorable as the waiter in Casablanca (1942) and as a somewhat lecherous Broadway producer in Yankee Doodle Dandy (1942). He retired from films in 1954 and died of a heart attack in Hollywood in 1955.

Lynne Carver was born on 13 September 1916 in Douglas, Arizona, USA. She was an actress, known for The Bride Wore Red (1937), Dulcy (1940) and Everybody Sing (1938). She was married to John Burt, William J. Mullaney, Nicholas Nayfack and R. C. McClung. She died on 12 August 1955 in New York City, New York, USA.

Shemp Howard was born Samuel Horwitz in Brooklyn, New York, USA. He was also the brother of fellow stooges Moe Howard and Curly Howard. Larry Fine was not related to any of the other stooges.

When not working with The Three Stooges, Shemp made a lot of feature film appearances, such as The Bank Dick (1940) with W.C. Fields. Shemp, Moe, Larry and Curly appeared in only one short together -- Hold That Lion! (1947). In it, Curly appears as an uncredited train car passenger. Watch for the man with the hat on his face. This was a short, non-speaking cameo, due to a stroke Curly suffered the prior year.

In a career that covered six decades, Constance Collier evolved into one of Broadway and London's finest tragediennes during the first half of the 1900s. While the regal, dark-featured beauty who bore classic Romanesque features enjoyed a transcontinental career like a number of her contemporaries, her theatre success did not encourage an enviable film career. It wasn't until her senior years that Constance engaged in a number of well-regarded supporting performances on screen. Later respect also came as one of Hollywood's premiere drama and voice coaches.

She was born Laura Constance Hardie in Windsor, Berkshire on January 22, 1878, the only child of Auguste Cheetham and Eliza Georgina (Collier) Hardie, both minor professional actors. Young Constance made her stage debut at the age of three as a fairy in a production of "A Midsummer Nights Dream" and the die was cast. By age 6 she was appearing with famed actor/manager Wilson Barrett in "The Silver King". An early break occurred in her teens (1893) when the tall, under-aged beauty was given consent by her parents to become a member of the famed George Edwardes-Hall "Gaiety Girls" dance troupe. Groomed extensively in singing, dancing and elocution, she managed to stand out among those others in the chorus line and went on to featured status in two of Edwardes-Hall's biggest hits, "A Gaiety Girl" and "The Shop Girl" (both 1894).

Legit ingénue roles in "Her Advocate", "Tommy Atkins" and "The Sign of the Cross" followed. Just after the turn of the century (1901) she was invited to join the theatre company of the esteemed Herbert Beerbohm Tree, who had been searching for a comparably tall leading lady to play opposite him. She remained with his company at His Majesty's Theatre for six years where she built up a formidable classical resumé. Alongside Sir Herbert in such plays as "Ulysses", "The Eternal City" and "Nero", Constance also proved a fine Shakespearean with her Olivia, Viola, Portia, Mistress Ford and Cleopatra at the top of the list. She also made a noteworthy Nancy Sykes in "Oliver Twist" which she toured extensively both here and abroad. During this time (1905), she married British-born actor Julian L'Estrange and together they became an internationally respected stage couple.

Ms. Collier made a successful American stage debut in 1908 with "Samson" at the Garrick Theatre in New York opposite well-known American actor/playwright William Gillette, thereby placing herself solidly among the most popular and respected actresses of the day. Among her subsequent Broadway offerings were "Israel" (1909), "Trelawney of the Wells" (1911), "Oliver Twist" (1912), "Othello" (1915) and "The Merry Wives of Windsor" (1917).

Sir Herbert and Constance both appeared as extras in the silent D.W. Griffith classic Intolerance (1916). While still in the U.S., he filmed Macbeth (1916) with Constance as his Lady Macbeth. Not only was the Shakespearean film poorly received but her starring appearances in two other silents released earlier that year, The Tongues of Men (1916) and The Code of Marcia Gray (1916), were also overlooked.

Tragedy struck in October of 1918. She and her husband, L'Estrange, had begun a Broadway run together of "The Ideal Husband" only a month earlier. During the run he contracted the deadly Spanish influenza which had spread worldwide and died of pneumonia at the untimely age of 40. The grief-stricken actress finished the play's run into November then returned to England where she appeared in the films The Impossible Woman (1919), Bleak House (1920) and The Bohemian Girl (1922). Among her London theatre successes were "Our Betters" (1923) at the Globe Theatre, which ran for over twelve months, and "Hamlet" wherein she played Queen Gertrude opposite John Barrymore's Great Dane (1925) at the Haymarket Theatre. Constance also moved into writing and penned her own play "Forever", which was based on the George L. Du Maurier novel "Peter Ibbetson". She then co-wrote with actor/friend Ivor Novello the play "The Rat" (1924), in which Novello starred and which Collier produced.

The advent of sound provided the exciting opportunity for the eloquent Collier to work in the U.S., but not necessarily as an actress. By helping established silent film stars transition into talkies, she became Hollywood's foremost drama and voice coach. Finding less and less time for stage work, she directed a Broadway production of "Camille" in 1931. She did, however, manage to appear in productions of "Peter Ibbetson" (1931), which she also staged, "Dinner at Eight (1932) and "Hay Fever" (1933) all in New York. Her final Broadway curtain call was taken as Madame Bernardi in "Aries Is Rising" (1939) at New York's Golden Theatre.

In later years, she continued to coach (among her students were Marilyn Monroe) and write, but she also found time to return to the large screen in a dozen or so films, usually providing stately support. She appeared in a range of movies from the Shirley Temple vehicle Wee Willie Winkie (1937) to the film noir piece The Dark Corner (1946). Better known roles during this period include those in Stage Door (1937), playing, quite appropriately and amusingly, the resident drama coach, An Ideal Husband (1947), excellent as Lady Markby, and Alfred Hitchcock's Rope (1948). Her last film was Whirlpool (1950).

Constance Collier died of natural causes in New York on April 25, 1955, and left behind her 1929 memoirs "Harlequinade". She had no children.

Carmen Miranda was born Maria do Carmo Miranda da Cunha on February 9, 1909, near Porto, Portugal, in the town of Marco de Canavezes. Not long after her birth her family moved to Brazil, where her father was involved in the produce business. The family settled in the then-capital city of Rio de Janeiro. ' After leaving school, Carmen got a job at a local store, and often began singing on the job. Before long she was discovered and got a singing job on a local radio station. She ultimately got a recording contract with RCA. By 1928 she was a genuine superstar in Brazil. As with other popular singers of the era, she eventually made her way into the film world. She made her debut in the Brazilian documentary A Voz do Carnaval (1933). Two years later she appeared in her first feature film, Alô, Alô, Brasil (1935).

However. it was Estudantes (1935) that seemed to solidify Carmen in the minds of the Brazilian movie audiences. Now they realized she could act as well as sing. Although there was three years between "Alo, Alo Carnaval" and Banana-da-Terra (1939), Carmen continued to churn out musical hits in Brazil. The latter film would be the last in her home country.

In late 1939 Carmen arrived, with much fanfare in the press, in New York City. She was now ready to capture Americans' hearts with her talent. She appeared in some musical revues on Broadway and, just as everyone thought, was a huge hit. In 1940 Carmen was signed to appear in the Twentieth Century-Fox production Down Argentine Way (1940), with Betty Grable and Don Ameche. The only complaint that critics had was the fact that Carmen was not on the screen enough.

In 1941 she was, again, teamed with Ameche in addition to Alice Faye in That Night in Rio (1941). The film was extremely popular with the theater patrons. Her unique songs went a long way in making her popular. It was after Week-End in Havana (1941) that American cartoon artists began to cash in on Carmen's ever-growing popularity. In the 1930s and 1940s cartoons were sometimes shown as a prelude to whatever feature film was showing. Sure enough, the cartoon version of Carmen came wriggling across the screen, complete with her trademark fruit hat and wide, toothy grin.

In 1942 Carmen starred in Springtime in the Rockies (1942) with Betty Grable and Cesar Romero, both of whom she had worked with before. It was shortly after this that America began adopting her style of dress as the latest fad. 1944 saw her in three films: Something for the Boys (1944), Four Jills in a Jeep (1944) and Greenwich Village (1944). The first two did well at the box-office, but the last one left a lot to be desired. It was her last busy year in film. Carmen made one film each in 1945, '46, '47 and '48. After that she didn't make a film for two years, until Nancy Goes to Rio (1950), a production for MGM. Once again didn't make a film for several years, returning with Scared Stiff (1953).

She did stay busy, singing on the nightclub circuit and appearing on the relatively new medium of television. However, "Scared Stiff" was her final performance on the silver screen. On August 4, 1955, she suffered a heart attack, although she didn't realize it at the time, during a video taping of The Jimmy Durante Show (1954). She went home after attending a party.

Early the next morning, on August 5, Carmen suffered a fatal heart attack. She was just 46 years old. Her body was flown to her adopted country of Brazil, where her death was declared a period of national mourning.

Theda Bara was born in Cincinnati, Ohio, as Theodosia Goodman, on July 29, 1885. She was the daughter of a local tailor and his wife. As a teenager Theda was interested in the theatrical arts and once she finished high school, she dyed her blond hair black and went in pursuit of her dream. By 1908 she was in New York in search of roles. That year she appeared in "The Devil", a stage play. In 1911 she joined a touring company. After returning to New York in 1914, she began making the rounds of various casting offices in search of work, and was eventually hired to appear in The Stain (1914) as an extra, but she was placed so far in the background that she was not noticed on the screen. However, it was her ability to take direction which helped her gain the lead role as the "vampire" in A Fool There Was (1915) later that year, and "The Vamp" was born. It was a well-deserved break, because Theda was almost 30 years old, at a time when younger women were always considered for lead roles. She became the screen's first fabricated star. Publicists sent out press releases that Theda was the daughter of an artist and an Arabian princess, and that "Theda Bara" was an anagram for "Arab Death"--a far cry from her humble Jewish upbringing in Cincinnati. The public became fascinated with her--how could one resist an actress who allowed herself to be photographed with snakes and skulls? Theda's second film, later that year for the newly formed Fox Studios, was as Celia Friedlander in Kreutzer Sonata (1915). Theda was hot property now and was to make six more films in 1915, finishing up with Carmen (1915). The next year would prove to be another busy one, with theater patrons being treated to eight Theda Bara films, all of which would make a great deal of money for Fox Films, and in 1917 Fox headed west to Califoria and took Theda with them. That year she starred in a mega-hit, Cleopatra (1917). This was quickly followed by The Rose of Blood (1917). In 1918 Theda wrote the story and starred as the Priestess in The Soul of Buddha (1918). After seven films in 1919, ending with Lure of Ambition (1919), her contract was terminated by Fox, and her career never recovered. In 1921 she married director Charles Brabin and retired. In 1926 she made her last film, Madame Mystery (1926), and promptly went back into retirement, permanently, at the age of 41. She tried the stage briefly in the 1930s but nothing really set the fires burning. A movie based on her life was planned in the 1950s, but nothing ever came of it. On April 7, 1955, Theda Bara died of abdominal cancer at the age of 69 in Los Angeles, California. There has been no one like her since.

Suzan Ball, a second cousin of Lucille Ball, was born on March 3, 1934, in Jamestown, New York. She came to Hollywood with her family in 1941. She sang with the Mel Baker Orchestra from 1948-1953. Her first part in Hollywood was as a harem girl in Aladdin and His Lamp (1952) at Monogram. She got an interview with the talent department of Universal-International and signed a contract. In 1952 she was proclaimed "The New Cinderella Girl of 1952". She had a fleeting romance with Scott Brady, whom she met on the set of Untamed Frontier (1952), and they planned to marry. She then filmed City Beneath the Sea (1953) and fell for Anthony Quinn, who was still married. Their romance lasted only a year because Quinn was still in love with his wife, Katherine DeMille. Suzan was proclaimed one of the most important "New Stars of 1953" by Hedda Hopper. On her next film, East of Sumatra (1953), she suffered an injury to her right leg during a dance number. Later in 1953, while filming War Arrow (1953), she was told by doctors that her leg had developed tumors. Later that year at home, she slipped on some spilled water and broke her leg. She was rushed to the hospital and operated on to remove the tumors. The operation was not a success and she was told that amputation of her right leg would be necessary. In December of 1953, she became engaged to Richard Long. On January 12, 1954, her leg was amputated. On April 4th, 1954, she was married to Long in Santa Barbara wearing an artificial limb. Some guests in attendance at her wedding were Rock Hudson, Tony Curtis and Janet Leigh, David Janssen, and Jeff Chandler. In May 1955 she embarked on a nightclub tour. In July, while rehearsing a scene for an episode of Climax! (1954), she collapsed and was rushed to the hospital. Doctors found that the cancer had spread to her lungs. On August 5th, 1955, Suzan died of cancer, only six months after her 21st birthday. She fought her battle with cancer for 16 months and lost. She was buried at Forest Lawn Cemetery. Her husband Richard was always praised for his love and devotion to Suzan during her long illness.

Ona Munson was born Owena Elizabeth Wolcott on June 16, 1903 in Portland, Oregon. She took singing and dancing lessons when she was a child. At the age of fourteen, Ona moved to New York City with her mother. She began her career performing in vaudeville. In 1919 she made her Broadway debut in George White's Scandals. She appeared in several hit Broadway shows including No, No, Nanette and Hold Everything. Ona married stage actor Edward Buzzell in 1926. She went to Hollywood in 1930 to make the comedy Going Wild (1930). Soon after, she divorced her husband and started dating director Ernst Lubitsch. She starred in The Hot Heiress (1931) with Ben Lyon and in Broadminded (1931) with Joe E. Brown. Ona returned to Broadway in 1933 for a production of Hold Your Horses. While appearing in the show Ghosts she had a brief romance with actress Alla Nazimova. She also had relationships with Greta Garbo, Tallulah Bankhead, and director Dorothy Arzner. In 1939 she was cast as Belle Watling, a Southern madam, in Gone with the Wind (1939). The movie was a huge success but Ona ended up being typecast in similar roles. She got rave reviews playing a madam again in the film The Shanghai Gesture (1941).

Ona had a passionate love affair with playwright Mercedes de Acosta. She said they shared "the deepest spiritual moment that life brings". Worried about being outed as a lesbian she ended the romance and married Stewart McDonald, a loan administrator, in 1941. Their marriage was an arrangement since Stewart was also gay. During World War 2 she was chosen to be "Hollywood's official hostess" and acted as a godmother to hundreds of soldiers. She made some movies at Warner Brothers but her career stalled. Her final film was the thriller The Red House (1947). Ona divorced Stewart and married French painter Eugene Berman in 1950. This was another lavender marriage to a gay man. The couple moved to an apartment in The Belnord on Manhattan's Upper West Side. During the early 1950s Ona appeared in a few television shows. Unfortunately she was plagued by health problems and became very depressed. On February 1955 she committed suicide by taking an overdose of sleeping pills. She was fifty-one years old. Ona left a note that said "This is the only way I know to be free again ... Please don't follow me." She is buried at Ferncliff Cemetery in Hartsdale, New York.

Pittsburgh-born John Hodiak was one of several up-and-coming male talents who managed to take advantage of the dearth of WWII-era superstars (MGM's Clark Gable, Van Johnson, Robert Taylor and James Stewart, among others) who were off serving their country. John's early death at age 41, however, robbed Hollywood of a strong player and promising character star.

Born on April 16, 1914, the eldest of four (one daughter was adopted), John was eight years old when his middle-class family moved to a thriving Polish community in a suburb of Detroit, Michigan. His father, Walter, was born in the Ukraine and his mother, Anna, was Polish. Expressing interest in music and drama at an early age, he was encouraged by his father who had appeared in amateur shows. He found roles in school plays (done in Hungarian or Polish), sang in the Ukrainian church choir, played the clarinet, and even took diction lessons. Not to be outdone, his athletic skills were also put on display. At one point, he was considered by the St. Louis Cardinals for their farm league but he declined the offer in favor of pursuing an acting career.

Following high school, John found work as a golf caddy and stockroom clerk (at a Chevrolet company) before breaking into radio (WXYZ) in Detroit and (later) Chicago. His more notable roles was as the title figure in "L'il Abner" (a role created on radio) and in the serials "Ma Perkins" and "Wings of Destiny". While in Chicago he was noticed by MGM talent agent Marvin Schenck and signed. Proud of his heritage, he refused to change his name to a more marquee-friendly moniker despite mogul Louis B. Mayer's concerns. Hodiak made his debut as a walk-on in A Stranger in Town (1943), and had a bit part in one of Ann Sothern's "Maisie" series Swing Shift Maisie (1943) before becoming her leading man in a subsequent entry (Maisie Goes to Reno (1944)) the following year.

His inability to sign up for military duty due to his high blood pressure ended up giving him a starring career. Attention started being paid after he played Lana Turner's soldier husband in Marriage Is a Private Affair (1944). An interested Alfred Hitchcock then borrowed John for the role of Kovac, the torpedoed ship's crew member, in one of his classic war dramas Lifeboat (1944) starring the irrepressible Tallulah Bankhead at 20th Century-Fox. The studio was so impressed with John's work in this that it cast him in two other quality films: Sunday Dinner for a Soldier (1944) and A Bell for Adano (1945), both of which showed off his quiet but rugged charm.

In the former he played the patriotic title role and co-starred with Anne Baxter. No sparks as of yet between these two, but a year or so later they reconnected at a party and started dating. They married on July 6, 1946. The second film, the exquisitely sensitive and moving war picture A Bell for Adano (1945) made him a star by Hollywood standards. Co-starring a rather miscast Gene Tierney (as a blonde Italian village girl) and William Bendix, John was more than up to the challenge of playing the role of U.S. Major Joppolo, originally created on Broadway by Fredric March. The irony of it all is that the actor never found better roles (at MGM) than the ones he filmed while lent out to Fox.

Back at MGM, John went through the usual paces. He was overlooked in the rousing Judy Garland vehicle The Harvey Girls (1946), but seemed much more at home in the film noir Somewhere in the Night (1946) and in the WWII drama Homecoming (1948) that starred Clark Gable and Lana Turner, with John and wife Anne Baxter serving as second leads.

With MGM's male roster of talent back home now from the war, John was unceremoniously relegated to second leads that supported the top-tier actors, including Gable, Spencer Tracy, Robert Walker, James Stewart and Robert Taylor. While several of his subsequent post-war films drew desultory reviews, notably the Greer Garson "Miniver" sequel The Miniver Story (1950), Hedy Lamarr's so-called tale of intrigue A Lady Without Passport (1950), and the Clark Gable western Across the Wide Missouri (1951), John did manage to co-star in two of MGM's more stirring war pictures -- Command Decision (1948) and Battleground (1949). Occasionally deemed "glum" and "wooden" by his harsher critics, John's MGM contract expired in 1951 and he began to freelance. Most of the work that followed were starring roles in low-budget entries. Battle Zone (1952) had John and Stephen McNally as two Korean war photographers distracted by the lovely Linda Christian, and Conquest of Cochise (1953) featured a miscast John as the famed Indian warrior.

John reaped better rewards on the stage during this time. Receiving excellent reviews following his 1952 Broadway debut as the sheriff in "The Chase" (he received the Donaldson Award), the actor returned to Broadway as Lieutenant Maryk in "The Caine Mutiny Court Martial (1954) co-starring Henry Fonda. He was extremely disappointed when former fellow MGM player Van Johnson was cast as the lieutenant in the acclaimed film version starring Humphrey Bogart as Captain Queeg.

The father of daughter Katrina Baxter Hodiak, who was born in 1951, John and Anne's varied backgrounds (he was middle class and she more high society -- her grandfather being the renowned Frank Lloyd Wright) and their busy film careers created significant problems. They divorced on January 27, 1953. John later built a home for his parents and younger brother in Tarzana, California and eventually lived there with them. His later years grew difficult and were plagued by self-doubt, a diminishing career and an equally diminishing social life.

John's key Broadway success in "Mutiny" led to a fine comeback role on screen as a prosecuting attorney in Trial (1955), finding "guest artist" work on dramatic TV as well. What might have led to a strong resurgence, however, was sadly cut short. On the morning of October 19, 1955, 41-year-old John suffered a coronary thrombosis and died instantly while shaving in the bathroom of his home. He was on his way to the 20th Century-Fox lot to complete final work on his last film, On the Threshold of Space (1956), when he was stricken.

The movie was released posthumously with John's role left intact. While no previous record of a heart ailment, per se, was ever uncovered, the hypertension that kept him out of the service, at a relatively young age, no doubt contributed to his death. It was an extreme shock to lose someone so relatively young, and even sadder for those he loved and left behind, including his 4-year-old daughter. Katrina Hodiak later became a composer, an actress and a theater director). John was interred at the Calvary Cemetery in Los Angeles.

Bernard Gorcey was born in Russia. He immigrated to the United States with his family and was raised on the Lower East Side of Manhattan attending school at The Educational Alliance where he performed in the Children's Educational Theatre. He was mentored by Mark Twain who introduced him to producers and impresarios on Broadway who subsequently cast him in his first role in the show Tom Jones in 1907 and toured with the show in the U.S. and Canada through April 1908.

Thereafter, Bernard found no work as a character actor and was forced to join his family in Long Branch New Jersey where he partnered with his father to run a tailoring business for four years. He returned to the Broadway stage in 1912 starring in several prominent roles produced by notable figures such as Arthur Hammerstein. He toured around the nation with these shows returning to New York to marry Josephine Condon of Boston

Bernard enjoyed continued successes on Broadway and toured several times around the country with these shows. He and Josephine had three sons, Fred in 1915, Leo in 1917 and David in 1921. In 1922, Bernard enjoyed his greatest hit on Broadway in Abie's Irish Rose, a show that broke records, running some 2,327 performances. Popular lore has Bernard participating over the entire run. But he left the show and joined Arthur Hammerstein and other theatrical notables for a long stretch of successes through 1928.

In 1928, Bernard enjoyed his first screen success, traveling to Hollywood to film Abie's Irish Rose. Hollywood was slow to recognize his value. During this time, he was in demand on the Vaudeville circuits as well as in radio. He returned to the stage in several efforts in New York and around the country (meeting a young Archie Leach/Cary Grant in summer stock in St. Louis) while continuing to experiment with film. He shot several shorts across the Hudson River with the budding Fleischer Brothers organization between 1931 and 1934.

It was only in 1940 that Bernard saw his breakthrough into major filmdom when he took a significant role in the Charles Chaplin film The Great Dictator. Thereafter he relocated to Hollywood, finding sporadic work with major studios and stars as he developed his reputation as a unique character actor. He can be seen along-side his son, Leo and with Ida Lupino and John Garfield, in Out of the Fog, with Paul Henreid, Thomas Mitchell and Laird Cregar in Joan of Paris, and with Bela Lugosi in Black Dragons.

He became associated with the efforts of his son Leo Gorcey's film franchise that morphed from the Dead End Kids into the East Side Kids at Monogram Studios in 1943. But he did not begin his signature role of Louie, the Sweetshop owner in the Bowery Boys series until the second of those, In Fast Company, in 1943. Joining sons Leo and David, he completed forty of the films in the series, interspersing these with cameos in major studio pictures and appearances in television with Joan Davis in her I Married Joan series with Jim Backus.

Bernard was the victim of a traffic accident in August 1955 and died at age 69 on September 11th of that year.

Tom Moore was born on 1 May 1883 in Fordstown Crossroads, County Meath, Ireland. He was an actor and director, known for On Thin Ice (1925), Side Street (1929) and The Cabaret Singer (1915). He was married to Eleanor Moore, Renée Adorée and Alice Joyce. He died on 12 February 1955 in Santa Monica, California, USA.

Relatively new to Hollywood, handsome Robert Francis was a rising young actor and deemed California's "Golden Boy" on the verge of 1950's cinematic stardom, when on July 31 , 1955, he, along with two others, perished in a private plane crash just after takeoff in Burbank, California.

Robert Charles Francis was born on February 26, 1930, in Glendale, California, where his parents ran a family pharmacy. Growing up he showed early interests in art and in sports, particularly skiing. As a teen he attended Pasadena City College from 1946 to 1948 after completing the tenth grade at Wilson Junior High School. He graduated with a "junior college degree.

The teenager had major designs on becoming an Olympic skier (he was taught by his older brother and the young boy was a ski shop operator at one point). Fate stepped in, however, when he was spotted by a Hollywood talent scout while sunning near the Santa Monica pier. Told his handsome, likable, all-American looks could make a cinematic impression, he decided to take a chance and began signed up for acting classes.

A three-year stint in the U.S. Army (1950-1953) interrupted this progress but, following his discharge, he attended the Batomi Schneider Drama Workshop (Ms. Schneider was a Universal drama coach). Max Arnow, head talent at Columbia, took a liking to Robert and managed to set up a screen test for studio head Harry Cohn who was looking for fresh talent for an upcoming film The Caine Mutiny (1954). Though his inexperience showed through in the test, Robert's courteous but quiet intensity and manly inner rebellion sparked an certain interest in Cohn and the young man was signed to a contract.

Not only did Columbia give Robert the prime role of Ensign Willie Keith in The Caine Mutiny (1954), Bob held his own alongside a formidable group of male stalwarts including Humphrey Bogart, José Ferrer, Van Johnson and Fred MacMurray. His scenes also included a romantic subplot opposite dark-haired beauty May Wynn, who took her stage moniker from the character she played in this film. Robert, sporting the 1950s brush-cut standard of the day, was voted one of Screen World's "Promising Personalities of 1954" upon the successful release of the movie.

Clean-cut and athletic, the young actor continued to show exceptional poise and restraint in his next three co-leads as well, finding a strong niche as odd-man-out military types. Capitalizing on his promising debut, Robert was top-billed in the western They Rode West (1954) as a cavalry captain who bucks against the system and his captain Philip Carey as he selflessly tends to Indians during a malaria epidemic . His co-star, again, was Ms. Wynn again as well as the lovely Donna Reed.

Top-billed as well in his third film, The Bamboo Prison (1954), which was similar but not quite up to the Oscar-winning standards of Stalag 17 (1953) as it reveals the brutalities of POW life, Robert plays a Korean War POW sergeant who attempts to extract valuable information from his captors. He co-stars opposite Brian Keith, as a fellow POW corporal, who initially thinks (as do the other American POWs) that Robert is a traitor for "cooperating" with the enemy.

Robert's fourth and final film was a third-billed part as an ill-fated West Point cadet in the sentimental John Ford bio-drama The Long Gray Line (1955) starring Tyrone Power as a legendary Irish-born West Point sergeant and Maureen O'Hara his altruistic wife. The picture did well.

While Columbia was keen on propelling Robert to top-grade stardom, Robert was showing a strong, keen interest in aviation. At one point, this ill-fated passion put him into contact with eccentric producer/director/aviator billionaire Howard Hughes and the two men frequently went flying together, with young Francis often at the controls of Hughes' planes

Just two weeks before Robert was to start filming a loan-out picture, MGM's romantic western Tribute to a Bad Man (1956) starring James Cagney, Robert decided to pilot a Beechcraft Bonanza owned by friend and fellow actor Joe Kirkwood Jr.. Also on board would be Kirkwood's business partner, the Hollywood agent George Irving Meyer, 38, an experienced WW II pilot, and his lady friend, aspiring actress Audrey Ann Schneider (aka Ann Russell), 24. Immediately following their shaky takeoff from Lockheed Air Terminal in Burbank, the plane's engine sputtered and lost power. Francis, a still relatively inexperienced pilot, managed to avoid a crowd at nearby Valhalla Cemetery, and crashed into a parking lot where it burst into flames, killing all three instantly.

The 25-year-old actor was survived by his parents, James William and Lillian Warnock Francis, and an older brother and sister (Bill, Lillian). He was buried at Forest Lawn Memorial Park. Actor Don Dubbins was recast in the Cagney film. A tragic ending for such a promising young man who had a major career cruelly taken from him.

Paul Harvey was born on 10 September 1882 in Sandwich, Illinois, USA. He was an actor, known for Spellbound (1945), Calamity Jane (1953) and Algiers (1938). He was married to Merle Stanton and Ottye Henrietta Cramer (actress). He died on 15 December 1955 in Los Angeles, California, USA.

Richard 'Skeets' Gallagher was born on 28 July 1891 in Terre Haute, Indiana, USA. He was an actor, known for Idiot's Delight (1939), Possessed (1931) and Lightning Strikes Twice (1934). He was married to Pauline Mason and Irene Martin. He died on 22 May 1955 in Santa Monica, California, USA.

Albert Einstein was born in Ulm, Kingdom of Württemberg, to a German Jewish family. He was the son of Pauline (Koch) and Hermann Einstein, a featherbed salesman. Albert began reading and studying science at a young age, and he graduated from a Swiss high school when he was 17. He then attended a Swiss Polytechnic, where he met his first wife. He graduated in 1900, and became a Swiss citizen in 1901. He began working at the Swiss Patent Office and continued his scientific studies. He taught at universities in Prague, Zurich, and Berlin, and continued his research in physics. The onset of World War II led him to move to the United States, and he was granted a post at the Institute for Advanced Study in New Jersey. Einstein was heavily involved in attempting to bring about world peace in his later life, and he continued his scientific research until his death in 1955.

James Millican was born on 17 February 1910 in Palisades, New Jersey, USA. He was an actor, known for Winchester '73 (1950), The Man from Laramie (1955) and I Died a Thousand Times (1955). He was married to Dorothy Eleanor Gumbrell. He died on 24 November 1955 in Los Angeles, California, USA.

After attending the American Academy of Dramatic Arts, Kentucky-born Tom Powers signed with Vitagraph Pictures at 21 years of age, in 1911. He stayed there for two years, then shortly thereafter traveled to England, appearing there in both stage productions and films. When he returned to the US he made a few more pictures, but stopped making movies in 1917 and concentrated exclusively on stage work. He didn't appear onscreen again until 1944, when he acceded to Billy Wilder's request to play Mr. Dietrichson, Barbara Stanwyck's doomed husband, in Double Indemnity (1944). He made up for lost time over the next 12 years, appearing in dozens of pictures--often as a detective, army officer, District Attorney or other authority figure--until 1955, when he died of heart failure in November of that year (his last film, The Go-Getter (1956), was released after his death).

During the heyday of German silent cinema, Rudolf Klein-Rogge was the prototype for the master criminal, the irredeemable arch villain or mad scientist. Born in Cologne, he served as a cadet in a Prussian military academy before finishing his matriculation. He then began to attend acting classes and studying art history in Berlin and Bonn, making his debut on the stage in 1909. After playing in theatres in towns and cities along the Rhine and northern Germany for nearly ten years, he started making films in 1919.

His villainous roots first came to the fore in The Cabinet of Dr. Caligari (1920), but he really established his reputation in a series of classic expressionist films written by his then-wife Thea von Harbou and directed by Fritz Lang. Of these, the most memorable were his forceful Moriarty-inspired portrayals of the titular character in Dr. Mabuse, the Gambler (1922), and its later sequel, The Testament of Dr. Mabuse (1933). The latter, which has an evil mastermind directing his empire from a madhouse, was so obviously aimed at the Hitler regime, that it was banned by Joseph Goebbels. Klein-Rogge's other noteworthy appearances include King Etzel in Die Nibelungen: Siegfried (1924) and Die Nibelungen: Kriemhild's Revenge (1924); and his insane scientist C.A. Rothwang, creator of the robot creature in Fritz Lang's masterpiece Metropolis (1927). A powerful personality possessed of an almost hypnotic stare and a strong, resonant voice, Klein-Rogge continued on through the 1930's in supporting roles. However, the period of expressionist cinema in Germany had all but run its course and he died in relative obscurity in Graz, Austria, in April 1955.

Born in interwar Prague as Miroslava Stanclová, her father died and she was adopted by a Jewish doctor, the psychoanalyst Dr. Oskar Leo Stern (1900-1972) who married her mother, Miroslava (née Becka; 1898-1945). Dr. and Mrs. Stern had a son, Ivo (1931-2011), the actress's half-brother. The family was, at one point, interned in a concentration camp after they fled their native Czechoslovakia in 1939. They sought refuge in various Scandinavian countries before emigrating to Mexico in 1941.

After winning a beauty contest in Mexico City, young Miroslava spent some time in Los Angeles studying acting. Due to her European features and accent, she rarely found roles other than mysterious women or foreign beauties. She was eventually offered a role in what would become her last and most remembered film: Luis Buñuel's The Criminal Life of Archibaldo de la Cruz (1955).

Soon after the film wrapped, she committed suicide reportedly because the man she loved married another woman. In a macabre coincidence, the premiere of The Criminal Life of Archibaldo de la Cruz (1955), in which a mannequin in her likeness is incinerated, was released during her own cremation in a Mexican graveyard. Her short, tragic life inspired a short story in 1990, and a film, Miroslava (1993).

Walter Hampden was one of the great American stage actors and the only performer, aside from Maurice Evans, to play Hamlet three times on Broadway in the post-World War I-era. Born Walter Hampden Dougherty on June 30, 1879, in Brooklyn, New York, he learned his craft in London, where he made his debut as a professional actor in 1901 with the Frank Benson Stock Company. He spent six years apprenticing in England, where he was thoroughly trained as a classical actor. When he returned to the US in 1907, he toured with the great Russian actress Alla Nazimova in a presentation of the plays of Henrik Ibsen.

Hampden played "Hamlet" on Broadway in 1918-1919, in 1925 (with Ethel Barrymore as his Ophelia at his own Hampden's Theatre), and in 1934. His greatest role was that of Edmond Rostand's "Cyrano de Bergerac," a part he first performed in 1923 and that he repeated four more times on the Great White Way.

In 1925 he took over management of the Colonial Theatre, a vaudeville house on Upper Broadway, and renamed it Hampden's Theatre. After christening his house with his second Hamlet on October 10, 1925, he played there with his own company through 1930. Later, Hampden helped launch the American Repertory Theatre, playing Cardinal Wolsey in William Shakespeare's "Henry VIII."

Hampden became revered as the grand old man of the American theater. He was president of the Players' Club for 27 years. His last distinguished role on Broadway was in Arthur Millers parable of McCarthyism, "The Crucible," capping a career that spanned a half-century.

Walter Hampden died on June 11, 1955, just three weeks shy of his 76th birthday.

The movie character actor Skelton Knaggs, who was possessed of one of the most unusual visages ever to grace motion pictures, was born Skelton Barnaby Knaggs in the Hillsborough district of Sheffield, England on June 27, 1911. Before he became known for his unusual physical appearance that was put to good use in many horror films and thrillers, he was a man of the theater: he learned his craft after moving to London to study acting at the Royal Academy of Dramatic Art. Upon graduation, he became a Shakespearean actor, appearing on stage in Shakespeare's Cymbeline, but he is known as a movie actor, first plying that trade in English quota quickies in the 1930s, making his debut in The High Command (1936), in support of Lionel Atwill. At the end of the decade, as the war clouds gathered over Europe, he appeared in Michael Powell's U-Boat 29 (1939) with Conrad Veidt.

After moving to Los Angeles, California, Knaggs found steady work in Hollywood movies. His diminutive frame and eccentric-looking looking appearance led to him being type-cast in sinister parts, usually in horror movies. Knaggs was employed by directors for his ability to inject a menacing mood into a picture through his unique presence alone.

He made his American film debut in the 1939 Poverty Row potboiler Torture Ship (1939) for the Producers Distributing Corporation. Knaggs appeared as a murderer shanghaied by a mad doctor played by Irving Pichel, who indulged his penchant for medical research on a ship stocked with criminals as a floating laboratory, the villains used as guinea pigs for glandular experiments. He next appeared in the Victor McLaglen picture Diamond Frontier (1940) at Universal. He did not appear again in motion pictures until 1943, when he was cast in Thumbs Up (1943) at Republic. From then on, he had a busy movie career for the next 12 years.

Along with his classical acting training, Knaggs' looks and demeanor (to say nothing about that memorable name) enabled him to make the transition to higher-budgeted films produced by the major studios, although he remained typecast in creepy roles. He became a regular supporting player in Universal Pictures B horror picture unit, popping up in such classics of the genre as House of Dracula (1945) (in which he appeared as the rabble rouser "Steinmuhl"). Other memorable roles came in The Invisible Man's Revenge (1944) and Terror by Night (1946), the latter movie being the penultimate entry in the Basil Rathbone & Nigel Bruce Sherlock Holmes series at Universal. In the Holmes movie, Knaggs has a role as a stealthy assassin.

Typed in malevolent supporting parts from the beginning of his career in Hollywood, it was a genre ghetto that he could not break out of. However, it did provide him with the finest role of his career, and the one part that came closest to a starring role, the mute Finn in producer Val Lewton's The Ghost Ship (1943) (directed by Mark Robson). Knaggs played a Finnish seaman in the psychological thriller (a mute, though his character narrates the film's key sections with an internal voice-over monologue). Despite turning in a fine performance in one of the seminal classics of the horror genre, Knaggs' reputation did not gain much luster as "The Ghost Ship" was withdrawn from distribution soon after its release due to legal problems, not going back into circulation until the mid-1990s.

He played villains in Dick Tracy vs. Cueball (1946) and Dick Tracy Meets Gruesome (1947) (in which the spectacularly unattractive Knaggs mocks Boris Karloff's "gruesome" face).

Knaggs briefly returned to England in the late 1940s, marrying Thelma Crawshaw in 1949. Returning to Hollywood as the decade of the 1950s approached, Knaggs appeared the lab assistant of mad doctor 'Alan Napier' in the 1949 Bowery Boys film "Master Minds" (featuring 'Glenn Strange' as the monster "Atlas"), as a villain in Columbia's science-fiction serial Captain Video: Master of the Stratosphere (1951), and as one of the sidekicks of Robert Newton's Blackbeard, the Pirate (1952). The last film in which he appeared was Fritz Lang's Moonfleet (1955).

In 1955, Knaggs died of cirrhosis of the liver at the age of 43. His like will likely never be seen again!

Prolific Irish character actor Thomas J. Dugan was born in Dublin on New Year's Day 1889. At a young age, his family moved to Philadelphia, where Dugan attended high school. He had a good tenor voice so, after leaving school, he decided to pursue a career in show business. Before appearing on stage, Dugan performed in minstrel and traveling medicine shows that were popular at the time. He played in musical comedies in New York City and vaudeville theaters such as Earl Carroll's Vanities before eventually becoming a comedian on Broadway.

Dugan began his acting career in 1927 with roles in some obscure silent movies. He was lucky enough to be cast in Lights of New York (1928), the very first feature film with all synchronous dialogue (The Jazz Singer (1927) was the first movie to use audible dialogue, but it still used title cards). His best-known films are Ernst Lubitsch's satirical World War II comedy To Be or Not to Be (1942) and the Gene Kelly/Frank Sinatra/Esther Williams musical Take Me Out to the Ball Game (1949).

Over the years, Dugan appeared in more than 260 films, appearing on silver screens frequently until a road accident in California took his life on March 7, 1955. He was 66 years old at the time of his death.

Betty Ann Davies was born on 24 December 1910 in London, England, UK. She was an actress, known for It Always Rains on Sunday (1947), The Man in Black (1950) and She Knew What She Wanted (1936). She was married to Alexander Blackford. She died on 14 May 1955 in Manchester, England, UK.

Nana Bryant was born on 23 November 1888 in Cincinnati, Ohio, USA. She was an actress, known for Harvey (1950), Brewster's Millions (1945) and Theodora Goes Wild (1936). She was married to F Clifford Earl Thompson and Phineas Gourley McLean (Ted MacLean). She died on 24 December 1955 in Los Angeles, California, USA.