Top 20 Performances of 1947

Tyrone Power was one of the great romantic swashbuckling stars of the mid-twentieth century, and the third Tyrone Power of four in a famed acting dynasty reaching back to the eighteenth century. His great-grandfather was the first Tyrone Power (1795-1841), a famed Irish comedian. His father, known to historians as Tyrone Power Sr., but to his contemporaries as either Tyrone Power or Tyrone Power the Younger, was a huge star in the theater (and later in films) in both classical and modern roles. His mother, Helen Emma "Patia" (née Reaume), (Mrs. Tyrone Power), was also a Shakespearean actress as well as a respected dramatic coach.

Tyrone Edmund Power, Jr., (also called Tyrone Power III) was born at his mother's home of Cincinnati, Ohio, in 1914. His ancestry included English, Irish, German, French Huguenot, and French-Canadian. A frail, sickly child, he was taken by his parents to the warmer climate of southern California. After his parents' divorce, he and his sister Anne Power returned to Cincinnati with their mother. There he attended school while developing an obsession with acting. Although raised by his mother, he corresponded with his father, who encouraged his acting dreams. He was a supernumerary in his father's stage production of 'The Merchant of Venice' in Chicago and held him as he died suddenly of a heart attack later that year.

Startlingly handsome, young Tyrone nevertheless struggled to find work in Hollywood. He appeared in a few small roles, then went east to do stage work. A screen test led to a contract at 20th Century Fox in 1936, and he quickly progressed to leading roles. Within a year or so, he was one of Fox's leading stars, playing in contemporary and period pieces with ease. Most of his roles were colorful without being deep, and his swordplay was more praised than his wordplay. He served in the Marine Corps in World War II as a transport pilot, and he saw action in the Pacific Theater of operations.

After the war, he got his best reviews for an atypical part as a downward-spiraling con-man in Nightmare Alley (1947). Although he remained a huge star, much of his postwar work was unremarkable. He continued to do notable stage work and also began producing films. Following a fine performance in Billy Wilder's Witness for the Prosecution (1957), Power began production on Solomon and Sheba (1959). Halfway through shooting, he suffered a heart attack during a dueling scene with George Sanders and died before reaching a hospital.

His three children, including his namesake, Tyrone William Power IV (known professionally as Tyrone Power Jr.), have all followed him in the family acting tradition.

Rex Harrison was born Reginald Carey Harrison in Huyton, Lancashire, England, to Edith Mary (Carey) and William Reginald Harrison, a cotton broker. He changed his name to Rex as a young boy, knowing it was the Latin word for "King". Starting out on his theater career at age 18, his first job at the Liverpool Rep Theatre was nearly his last - dashing across the stage to say his one line, made his entrance and promptly blew it. Fates were kind, however, and soon he began landing roles in the West End. "French Without Tears", a play by Terence Rattigan, proved to be his breakthrough role. Soon he was being called the "greatest actor of light comedy in the world". Having divorced his first wife Collette Thomas in 1942, he married German actress Lilli Palmer. The two began appearing together in many plays and British films. He attained international fame when he portrayed the King in Anna and the King of Siam (1946), his first American film. After a sex scandal, in which actress Carole Landis apparently committed suicide because he ended their affair, the relationship with wife Lilli became strained. Rex (by this time known as "Sexy Rexy" for his philandering ways and magnetic charm) began a relationship with British actress Kay Kendall and divorced Lilli to marry the terminally ill Kay with hopes of a re-marriage to Palmer upon Kay's death. The death of Kay affected Harrison greatly and Lilli never returned to him. During this time Rex was offered the defining role of his career: Professor Henry Higgins in the original production of "My Fair Lady". He won the Tony for the play and an Oscar for the film version. In 1962 Harrison married actress Rachel Roberts. This union and the one following it to Elizabeth Harris (Richard's ex) also ended in divorce. In 1978 Rex met and married Mercia Tinker. He and Mercia remained happily married until his death in 1990. She was also with him in 1989 when he was granted his much-deserved and long awaited knighthood at Buckingham Palace. Rex Harrison died of pancreatic cancer three weeks after his last stage appearance, as Lord Porteous in W. Somerset Maugham's "The Circle".

Eldred Gregory Peck was born on April 5, 1916 in La Jolla, California, to Bernice Mae (Ayres) and Gregory Pearl Peck, a chemist and druggist in San Diego. He had Irish (from his paternal grandmother), English, and some German, ancestry. His parents divorced when he was five years old. An only child, he was sent to live with his grandmother. He never felt he had a stable childhood. His fondest memories are of his grandmother taking him to the movies every week and of his dog, which followed him everywhere. He studied pre-med at UC-Berkeley and, while there, got bitten by the acting bug and decided to change the focus of his studies. He enrolled in the Neighborhood Playhouse in New York and debuted on Broadway after graduation. His debut was in Emlyn Williams' play "The Morning Star" (1942). By 1943, he was in Hollywood, where he debuted in the RKO film Days of Glory (1944).

Stardom came with his next film, The Keys of the Kingdom (1944), for which he was nominated for an Academy Award. Peck's screen presence displayed the qualities for which he became well known. He was tall, rugged and heroic, with a basic decency that transcended his roles. He appeared in Alfred Hitchcock's Spellbound (1945) as an amnesia victim accused of murder. In The Yearling (1946), he was again nominated for an Academy Award and won the Golden Globe. He was especially effective in westerns and appeared in such varied fare as David O. Selznick's critically blasted Duel in the Sun (1946), the somewhat better received Yellow Sky (1948) and the acclaimed The Gunfighter (1950). He was nominated again for the Academy Award for his roles in Gentleman's Agreement (1947), which dealt with anti-Semitism, and Twelve O'Clock High (1949), a story of high-level stress in an Air Force bomber unit in World War II.

With a string of hits to his credit, Peck made the decision to only work in films that interested him. He continued to appear as the heroic, larger-than-life figures in such films as Captain Horatio Hornblower (1951) and Moby Dick (1956). He worked with Audrey Hepburn in her debut film, Roman Holiday (1953). Peck finally won the Oscar, after four nominations, for his performance as lawyer Atticus Finch in To Kill a Mockingbird (1962). In the early 1960s, he appeared in two darker films than he usually made, Cape Fear (1962) and Captain Newman, M.D. (1963), which dealt with the way people live. He also gave a powerful performance as Captain Keith Mallory in The Guns of Navarone (1961), one of the biggest box-office hits of that year.

In the early 1970s, he produced two films, The Trial of the Catonsville Nine (1972) and The Dove (1974), when his film career stalled. He made a comeback playing, somewhat woodenly, Robert Thorn in the horror film The Omen (1976). After that, he returned to the bigger-than-life roles he was best known for, such as MacArthur (1977) and the monstrous Nazi Dr. Josef Mengele in the huge hit The Boys from Brazil (1978). In the 1980s, he moved into television with the miniseries The Blue and the Gray (1982) and The Scarlet and the Black (1983). In 1991, he appeared in the remake of his 1962 film, playing a different role, in Martin Scorsese's Cape Fear (1991). He was also cast as the progressive-thinking owner of a wire and cable business in Other People's Money (1991).

In 1967, Peck received the Academy's Jean Hersholt Humanitarian Award. He was also been awarded the US Presidential Medal of Freedom. Always politically progressive, he was active in such causes as anti-war protests, workers' rights and civil rights. In 2003, his Peck's portrayal of Atticus Finch was named the greatest film hero of the past 100 years by the American Film Institute. Gregory Peck died at age 87 on June 12, 2003 in Los Angeles, California.

The son of a sausage-maker, Michel Simon was conscripted into the Swiss Army at the start of World War I, but was thrown out through a combination of tuberculosis and general insubordination. He was variously a boxer, photographer, general handyman and right-wing anarchist, finally becoming a stage actor in Geneva in 1920. His reputation soon grew, and he moved to Paris in 1923, appearing in his first film in 1925 (the same year he played Boudu for the first time on stage). With the coming of sound, Simon became firmly established as one of France's outstanding character actors, doing unforgettable work for Jean Renoir (The Bitch (1931), Boudu Saved from Drowning (1932)), Jean Vigo (L'Atalante (1934)) and Marcel Carné (Port of Shadows (1938), Bizarre, Bizarre (1937)). In the 1950s he worked less frequently, partly thanks to an accident involving makeup dye that paralyzed part of his body and face. Despite this, he still managed to appear in films right up to his death in 1975.

George Sanders was born of English parents in St. Petersburg, Russia. He worked in a Birmingham textile mill, in the tobacco business and as a writer in advertising. He entered show business in London as a chorus boy, going from there to cabaret, radio and theatrical understudy. His film debut, in 1936, was as Curly Randall in Find the Lady (1936). His U.S. debut, the same year, with Twentieth Century-Fox, was as Lord Everett Stacy in Lloyd's of London (1936). During the late 1930s and early 1940s he made a number of movies as Simon Templar--the Saint--and as Gay Lawrence, the Falcon. He played Nazis (Maj. Quive-Smith in Fritz Lang's Man Hunt (1941)), royalty (Charles II in Otto Preminger's Forever Amber (1947)), and biblical roles (Saran of Gaza in Cecil B. DeMille's Samson and Delilah (1949)). He won the 1950 Academy Award for Best Supporting Actor as theatre critic Addison De Witt in Joseph L. Mankiewicz's All About Eve (1950). In 1957 he hosted a TV series, The George Sanders Mystery Theater (1957). He continued to play mostly villains and charming heels until his suicide in 1972.

Born Deborah Jane Trimmer in Glasgow, Scotland in 1921, she was the daughter of a soldier who had been gassed in World War I. A shy, insecure child, she found an outlet for expressing her feelings in acting. Her aunt, a radio star, got her some stage work when she was a teenager, and she came to the attention of British film producer Gabriel Pascal, who cast her in his film version of George Bernard Shaw's "Major Barbara" (Major Barbara (1941)) and Love on the Dole (1941). She quickly became a star of the British cinema, playing such diverse roles as the three women in The Life and Death of Colonel Blimp (1943) and the nun in Black Narcissus (1947).

In 1947, she "crossed the pond" to Hollywood and came to MGM, where she found success in films like The Hucksters (1947), Edward, My Son (1949) and Quo Vadis (1951). After a while, however, she tired of playing prim-and-proper English ladies, so she made the most of the role of the adulteress who romps on the beach with Burt Lancaster in From Here to Eternity (1953). The film was a success, and Kerr received her second Oscar nomination. She also achieved success on the Broadway stage in "Tea and Sympathy", reprising her role in the 1956 film version of the same name. (Tea and Sympathy (1956)). That same year she played one of her best-remembered screen roles, "Mrs. Anna" in The King and I (1956). More success followed in Heaven Knows, Mr. Allison (1957), An Affair to Remember (1957), Separate Tables (1958), The Sundowners (1960), The Innocents (1961) and The Night of the Iguana (1964).

In 1968, she quit movies, appalled by the explicit sex and violence of the day. After some stage and TV work in the 1970s and 1980s and swan song performances in The Assam Garden (1985) and Hold the Dream (1986), she retired from acting altogether. Kerr holds the record for the most Academy Award nominations for Best Actress without a win (six), but that was made up for in 1994, when she was given an Honorary Oscar for her screen achievements.

With prominent cheekbones, luminous skin and the most crystalline green eyes of her day, Gene Tierney's striking good looks helped propel her to stardom. Her best known role is the enigmatic murder victim in Laura (1944). She was also Oscar-nominated for Leave Her to Heaven (1945). Her acting performances were few in the 1950s as she battled a troubled emotional life that included hospitalization and shock treatment for depression.

Gene Eliza Tierney was born on November 19, 1920 in Brooklyn, New York, to well-to-do parents, Belle Lavinia (Taylor) and Howard Sherwood Tierney. Her father was a successful insurance broker and her mother was a former teacher. Her childhood was lavish indeed. She also lived, at times, with her equally successful grandparents in Connecticut and New York. She was educated in the finest schools on the East Coast and at a finishing school in Switzerland.

After two years in Europe, Gene returned to the US where she completed her education. By 1938 she was performing on Broadway in What a Life! and understudied for the Primrose Path (1938) at the same time. Her wealthy father set up a corporation that was only to promote her theatrical pursuits. Her first role consisted of carrying a bucket of water across the stage, prompting one critic to announce that "Miss Tierney is, without a doubt, the most beautiful water carrier I have ever seen!" Her subsequent roles Mrs O'Brian Entertains (1939) and RingTwo (1939) were meatier and received praise from the tough New York critics. Critic Richard Watts wrote "I see no reason why Miss Tierney should not have a long and interesting theatrical career, that is if the cinema does not kidnap her away."

After being spotted by the legendary Darryl F. Zanuck during a stage performance of the hit show The Male Animal (1940), Gene was signed to a contract with 20th Century-Fox. Her first role as Barbara Hall in Hudson's Bay (1940) would be the send-off vehicle for her career. Later that year she appeared in The Return of Frank James (1940). The next year would prove to be a very busy one for Gene, as she appeared in The Shanghai Gesture (1941), Sundown (1941), Tobacco Road (1941) and Belle Starr (1941). She tried her hand at screwball comedy in Rings on Her Fingers (1942), which was a great success. Her performances in each of these productions were masterful. In 1945 she was nominated for a Best Actress Oscar for her portrayal of Ellen Brent in Leave Her to Heaven (1945). Though she didn't win, it solidified her position in Hollywood society. She followed up with another great performance as Isabel Bradley in the hit The Razor's Edge (1946).

In 1944, she played what is probably her best-known role (and, most critics agree, her most outstanding performance) in Otto Preminger's Laura (1944), in which she played murder victim named Laura Hunt. In 1947 Gene played Lucy Muir in the acclaimed The Ghost and Mrs. Muir (1947). By this time Gene was the hottest player around, and the 1950s saw no letup as she appeared in a number of good films, among them Night and the City (1950), The Mating Season (1951), Close to My Heart (1951), Plymouth Adventure (1952), Personal Affair (1953) and The Left Hand of God (1955). The latter was to be her last performance for seven years. The pressures of a failed marriage to Oleg Cassini, the birth of a daughter with learning disabilities in 1943, and several unhappy love affairs resulted in Gene being hospitalized for depression. When she returned to the the screen in Advise & Consent (1962), her acting was as good as ever but there was no longer a big demand for her services.

Her last feature film was The Pleasure Seekers (1964), and her final appearance in the film industry was in a TV miniseries, Scruples (1980). Gene died of emphysema in Houston, Texas, on November 6, 1991, just two weeks shy of her 71st birthday.

Joan Crawford was born Lucille Fay LeSueur on March 23, 1906, in San Antonio, Texas, to Anna Belle (Johnson) and Thomas E. LeSueur, a laundry laborer. By the time she was born, her parents had separated, and by the time she was a teenager, she'd had three stepfathers. It wasn't an easy life; Crawford worked a variety of menial jobs. She was a good dancer, though, and -- perhaps seeing dance as her ticket to a career in show business -- she entered several contests, one of which landed her a spot in a chorus line. Before long, she was dancing in big Midwestern and East Coast cities. After almost two years, she packed her bags and moved to Hollywood. Crawford was determined to succeed, and shortly after arriving she got her first bit part, as a showgirl in Pretty Ladies (1925).

Three films quickly followed; although the roles weren't much to speak of, she continued toiling. Throughout 1927 and early 1928, she was cast in small parts, but that ended with the role of Diana Medford in Our Dancing Daughters (1928), which elevated her to star status. Crawford had cleared the first big hurdle; now came the second, in the form of talkies. Many stars of the silents saw their careers evaporate, either because their voices weren't particularly pleasant or because their voices, pleasing enough, didn't match the public's expectations (for example, some fans felt that John Gilbert's tenor didn't quite match his very masculine persona). But Crawford wasn't felled by sound. Her first talkie, Untamed (1929), was a success. As the 1930s progressed, Crawford became one of the biggest stars at MGM. She was in top form in films such as Grand Hotel (1932), Sadie McKee (1934), No More Ladies (1935), and Love on the Run (1936); movie patrons were enthralled, and studio executives were satisfied.

By the early 1940s, MGM was no longer giving her plum roles; newcomers had arrived in Hollywood, and the public wanted to see them. Crawford left MGM for rival Warner Bros., and in 1945 she landed the role of a lifetime. Mildred Pierce (1945) gave her an opportunity to show her range as an actress, and her performance as a woman driven to give her daughter everything garnered Crawford her first, and only, Oscar for Best Actress. The following year she appeared with John Garfield in the well-received Humoresque (1946). In 1947, she appeared as Louise Graham in Possessed (1947); again she was nominated for a Best Actress from the Academy, but she lost to Loretta Young in The Farmer's Daughter (1947). Crawford continued to choose her roles carefully, and in 1952 she was nominated for a third time, for her depiction of Myra Hudson in Sudden Fear (1952). This time the coveted Oscar went to Shirley Booth, for Come Back, Little Sheba (1952). Crawford's career slowed after that; she appeared in minor roles until 1962, when she and Bette Davis co-starred in What Ever Happened to Baby Jane? (1962). Their longstanding rivalry may have helped fuel their phenomenally vitriolic and well-received performances. (Earlier in their careers, Davis said of Crawford, "She's slept with every male star at MGM except Lassie", and Crawford said of Davis, "I don't hate [her] even though the press wants me to. I resent her. I don't see how she built a career out of a set of mannerisms instead of real acting ability. Take away the pop eyes, the cigarette, and those funny clipped words, and what have you got? She's phony, but I guess the public really likes that.")

Crawford's final appearance on the silver screen was in the flop Trog (1970). Turning to vodka more and more, she was hardly seen afterward. On May 10, 1977, Joan died of a heart attack in New York City. She was 71 years old. She had disinherited her adopted daughter Christina and son Christopher; the former wrote a tell-all book called "Mommie Dearest", The Sixth Sense published in 1978. The book cast Crawford in a negative light and was cause for much debate, particularly among her friends and acquaintances, including Douglas Fairbanks Jr., Crawford's first husband. (In 1981, Faye Dunaway starred in Mommie Dearest (1981) which did well at the box office.) Crawford is interred in the same mausoleum as fellow MGM star Judy Garland, in Ferncliff Cemetery in Hartsdale, New York.

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.

A genuine model of sincerity, practicality and dignity in most of the roles she inhabited, actress Dorothy McGuire offered Tinseltown more talent than it probably knew what to do with. A quiet, passive beauty, she had a soothing quality to her open-faced looks and voice. She was a natural when he came to tearjerkers and she certainly had a knack for opening up her film-goer's tear ducts with her arresting performances in sentimental drama. She preferred to rest on her acting laurels than engage in publicity-mongering to win roles. As a result, Dorothy was surprisingly ill-served in the awards department during her over five-decade film career, yet left a major imprint on celluloid. Touching, complex, immaculate in poise and style, she is now and forever etched in Hollywood's "Golden Age" annals and in the minds of film lovers everywhere.

Dorothy began inconspicuously enough in Omaha, Nebraska on Wednesday, June 14th, 1916. Her parents encouraged her early interest in acting and she made her debut as a teenager in "A Kiss for Cinderella" at the Omaha Community Playhouse which starred visiting alumni member Henry Fonda. She received her education at Omaha Junior College, Ladywood Convent in Indianapolis, and Pine Manor Junior College in Wellesley, Massachusetts before setting her sites on an acting career. Following summer stock she appeared in such 1938 stage productions as "Bachelor Born" and "Stopover" before understudying the role of Emily Gibb in Thornton Wilder's "Our Town" on Broadway, which at the time showcased young Martha Scott. Dorothy eventually replaced Scott in the role.

Other experiences came her way on stage with "My Dear Children" starring John Barrymore, "Swingin' the Dream", "Medicine Show", "The Time of Your Life" and "Kind Lady" before she was handed the titular role of "Claudia" in 1941. This gentle comedy became a certifiable Broadway hit and Dorothy simply incandescent as the child-like bride forced to wake up to reality after her sudden marriage. David O. Selznick subsequently signed her to a film contract. Fortunately, 20th Century-Fox, untrue to form, took a chance on the film unknown and allowed her to recreate her stage triumph opposite Robert Young. Claudia (1943) was so beautifully done and warmly received that McGuire and Young went on to recreate their roles three years later with Claudia and David (1946).

Unbelievably, Dorothy topped herself in only her second film role. After a pregnant Gene Tierney became unavailable for the role of Katie Nolan in A Tree Grows in Brooklyn (1945), the part fell to Dorothy. It's now hard to believe anyone else in the role. As the impoverished wife of a charming Irish ne'er-do-well and inebriate, Dorothy showed amazing complexity as the detached wife and mother whose painful but necessary decision-making alienates many around her, especially her daughter who is the apple of her daddy's eye. Directed by Elia Kazan, Dorothy was shamefully overlooked at awards time. Young Peggy Ann Garner was given a "special juvenile Oscar" and errant husband James Dunn picked up the Supporting Actor trophy for his work. Dorothy was not of the mind of tooting her own horn and it may have cost her an Oscar nomination -- better yet, the Oscar -- for she was hands down the better performer than eventual winner Joan Crawford, a popular choice for Mildred Pierce (1945).

Dorothy made it four film hits in a row with the success of both the sentimental fantasy The Enchanted Cottage (1945), in which she reunited with Robert Young to play two of society's castoffs who fall in love, and the expert Hitchcockian thriller The Spiral Staircase (1946) as the mute servant who is terrorized by a serial killer. Preferring rich characterizations over glamour, audiences saw Dorothy dolled up a bit more than usual in Till the End of Time (1946) as a war widow who falls for a younger hunk (Guy Madison). Her 40s filming was capped by a Best Actress nomination in Gentleman's Agreement (1947), an-anti-Semitic tale that boasted a topnotch ensemble cast including Gregory Peck, John Garfield and Celeste Holm, who won a supporting Oscar for this.

With nary a weak film yet on her resume, an unpretentious Dorothy still hadn't achieved top cinematic stardom. Preferring to return to her theater roots, she abandoned films for a couple of years and performed in such vehicles as "Tonight at 8:30" (1947) and "Summer and Smoke" (1950). When she did return it was to a different Hollywood and things would not be the same. Instead forgettable fluff such as Mother Didn't Tell Me (1950) and Callaway Went Thataway (1951) were the slim pickings offered. Although she found a popular hit with Three Coins in the Fountain (1954), the film was more notable for its title song and sumptuous settings than for the quality of acting of the three distaff stars -- McGuire, Maggie McNamara and Jean Peters.

Dorothy graciously moved into pillar-of-strength mother roles as she approached her 40s, making fine impressions as a Quaker matriarch in Friendly Persuasion (1956) and as the resourceful mom in three of Disney's endearing classics, Old Yeller (1957), Swiss Family Robinson (1960) and Summer Magic (1963). Her more flawed marital and parenting skills were displayed in the Inge film adaptation of The Dark at the Top of the Stairs (1960), and the huge, sudsy teen hit A Summer Place (1959) with Sandra Dee and Troy Donahue as young, star-crossed lovers. McGuire acted as Donahue's mother who rekindles an old love affair with Dee's father (Richard Egan). The 49-year-old McGuire then played the mother of all mothers, the Virgin Mary, in the misguided biblical epic The Greatest Story Ever Told (1965), marred by its overlong narrative and bizarre miscasting, including John Wayne as a Roman centurion. Her last film, the British-made Flight of the Doves (1971) as an Irish granny, had little impact.

In later years Dorothy found rich, rewarding work on TV and received an Emmy nomination for the well-received mini-series Rich Man, Poor Man (1976). She also played Marmee in a TV re-visitation of Part I (1978), and ended her career in good company with (what else?) a sentimental tearjerker in the mini-movie The Last Best Year (1990) co-starring Bernadette Peters and Mary Tyler Moore.

Dorothy's longtime husband was photographer John Swope who died in 1979. Her children by him are Mark Swope, an artist and photographer, and former actress Topo Swope. Dorothy's health declined severely after she fell and broke her leg in 2001. She died of heart failure not long after in a Santa Monica hospital on Thursday, September 13th at the age of 85.

Charles Ruggles had one of the longest careers in Hollywood, lasting more than 50 years and encompassing more than 100 films. He made his film debut in 1914 in The Patchwork Girl of Oz (1914) and worked steadily after that. He was memorably paired with Mary Boland in a series of comedies in the early 1930s, and was one of the standouts in the all-star comedy If I Had a Million (1932), as a harried, much-put-upon man who finally goes berserk in a china shop. Ruggles' slight stature and distinctive mannerisms - his fluttery, jumpy manner of speaking, his often befuddled look whenever events seemed about to overwhelm him, which was often - endeared him to generations of moviegoers. Memorable as Maj. Applegate the big-game hunter in the classic screwball comedy Bringing Up Baby (1938). Many will remember him as the narrator of the "Aesop's Fables" segment of the animated cartoon The Bullwinkle Show (1959). He was the brother of director Wesley Ruggles.

Victor Moore was born on 24 February 1876 in Hammonton, New Jersey, USA. He was an actor and writer, known for It Happened on Fifth Avenue (1947), Swing Time (1936) and A Kiss in the Dark (1949). He was married to Shirley Paige and Emma Littlefield. He died on 23 July 1962 in East Islip, Long Island, New York, USA.

John Garfield was born Jacob Julius Garfinkle on the Lower East Side of New York City, to Hannah Basia (Margolis) and David Garfinkle, who were Jewish immigrants from Zhytomyr (now in Ukraine). Jules was raised by his father, a clothes presser and part-time cantor, after his mother's death in 1920, when he was 7. He was sent to a special school for problem children, where he was introduced to boxing and drama. He won a scholarship to Maria Ouspenskaya's drama school. He joined the Civic Repertory Theatre in 1932, changing his name to Jules Garfield and making his Broadway debut in that company's Counsellor-at-Law. Joined the Group Theatre company, winning acclaim for his role in Awake and Sing. Embittered over being passed over for the lead in Golden Boy, which was written for him, he signed a contract with Warner Brothers, who changed his name to John Garfield. Won enormous praise for his role of the cynical Mickey Borden in Four Daughters (1938). Appeared in similar roles throughout his career despite his efforts to play varied parts. Children Katherine (1938-1945), David Garfield (1942-1995) and Julie Garfield (1946-). Active in liberal political and social causes, he found himself embroiled in Communist scare of the late 1940s. Though he testified before Congress that he was never a Communist, his ability to get work declined. While separated from his wife, he succumbed to long-term heart problems, dying suddenly in the home of a woman friend at 39. His funeral was mobbed by thousands of fans, in the largest funeral attendance for an actor since Rudolph Valentino.

There are very few character actors from the 1930s, '40s or '50s who rose to the rank of stardom. Only a rare man or woman reached the level of renown and admiration, and had enough audience appeal, to be the first name in a cast's billing, a name that got marquee posting. Charles Coburn comes to mind, but there aren't many others. However, one who made it was Edmund Gwenn.

Gwenn was born Edmund Kellaway in Wandsworth, London, on September 26, 1877. He was the oldest boy in the family, which at that time meant he was the only one who really mattered. His father was a British civil servant, and he groomed Edmund to take a position of power in the Empire. However, early on, the boy had a mind of his own. For a while, his inclination was to go to sea, but that ended when one of his forebear's in the Queen's Navy was court-martialed for exceeding his "wine bill". In addition to that, Edmund had poor eyesight and perhaps most importantly, he was his mother's darling, and she kept having visions of shipwrecks and desert island strandings. As for the civil service, to the boy it seemed like a "continent of unexplored boredom".

He attended St. Olaf's College and would attend King's College in London as well. Surprisingly, he excelled at rugby and amateur boxing. Meanwhile, he developed a strong inclination to the stage, partly because of his admiration for the great English actor, Henry Irving. A major roadblock to that ambition, however, was his father, who, at that time, was stationed in Ireland. When Edmund broke the news to his father that he had chosen acting as a career, there followed "a scene without parallel in Victorian melodrama." His father called the theatre "that sink of iniquity." He predicted that, if Edmund went into theatre, he would end up in the gutter, and then literally "showed him the door." Years later his father would admit he had been wrong, but that didn't help the young man during an all-night crossing from Dublin to England during which he had time to reflect. He was penniless. His experience consisted of a few performances in amateur productions, and he knew that if he failed, there was no going back home.

However, in 1895, at the age of eighteen, he made his first appearance on the English stage with a group of amateurs just turned professional, playing two roles, "Dodo Twinkle" and "Damper", in "Rogue and Vagabond". For a long time afterward, he refused to go on stage without a false beard or some other disguise, fearing someone would recognize him and tell his father (it's a bit ironic, by the way, that Edmund's younger brother Arthur would also become an actor using the name of Arthur Chesney). During the next few years, roles were hard to come by but, by 1899, he made his first appearance on the West End in London in "A Jealous Mistake". This was followed by ten years in the hinterlands acting with stock and touring companies, gradually working his way up from small parts to juicier roles. While with Edmund Tearle's Repertory Company, which toured the provinces, he played a different role each night. It was excellent training, in that he acted in everything from William Shakespeare to old melodrama.

About this time, he married Minnie Terry, niece of the more famous actress Ellen Terry, a marriage that evidently was short-lived. Most sources list it as beginning and ending in 1901, perhaps only for a matter of days or even hours. From that point, Gwenn would remain a bachelor for the rest of his life. He seems to have preferred not going into any details about the marriage and divorce, and Minnie Terry, who outlived Gwenn, apparently never mentioned what happened, at least not publicly. That same year, however, he went to Australia and acted there for three years, not returning to London until 1904. There, he took a small part in "In the Hospital", which led to his receiving a postcard from George Bernard Shaw, offering him a leading role as "Straker", the Cockney chauffeur, in "Man and Superman". Gwenn accepted (by this time he was Edmund Gwenn) and the play was a success. Shaw became a sort of professional godfather for him. He appeared in "John Bull's Island", "Major Barbara", "You Never Can Tell", "Captain Brassbound's Conversion" and "The Devil's Disciple", all by Shaw. He spent three years in Shaw's company, years which he called "the happiest I've ever had in the theatre".

From 1908 until 1915, he performed in new plays by noted playwrights of the time, including John Masefield's "The Campden Wonder", 'John Galsworthy''s "Justice" and "The Skin Game", J.M. Barrie's "What Every Woman Knows" and "The Twelve Pound Look", as well as Henrik Ibsen's "The Wild Duck" and Harley Granville-Barker's "The Voysey Inheritance". By this time, World War I had started and Gwenn, despite his poor eyesight, was conscripted into the British Army. Most of his time during "The Great War" was spent drawing supplies up to the front lines, while under fire. He was so successful at this task that, after a year as a private, he received a steady stream of promotions until eventually becoming a captain.

After the War, he returned to the stage and, in 1921, made his first appearance in the US in "A Voice from the Minaret" and "Fedora". He would return to America in 1928 to replace his friend, Dennis Eadie, who had died while in rehearsal for "The House of Arrows", but for most of this time, he was in England doing more stage roles and two dozen British films.

His first appearance on screen was in a British short, The Real Thing at Last (1916) in 1916, while he was still in the army. His next film roles were in Shaw's How He Lied to Her Husband (1931) and J.B. Priestley's The Good Companions (1933). He was also in Unmarried (1920) in 1920 and a silent version of "The Skin Game" (The Skin Game (1921)) as "Hornblower", a role he would reprise in 1931 for a talking version (The Skin Game (1931)) directed by Alfred Hitchcock. From then on, Gwenn was to work steadily until the end of his life. He appeared in English stage plays and films, eventually doing more and more on Broadway and in Hollywood. For example, he played the amiable counterfeiter in "Laburnum Grove" in 1933 (later to become the film Laburnum Grove (1936) in which he would star) and then with the entire British company brought it to New York. He was also a huge success in "The Wookey" in 1942, playing a Cockney tugboat captain. That same year, he appeared as "Chebutykin" in Anton Chekhov's "The Three Sisters", with Katharine Cornell, Ruth Gordon and Judith Anderson. In such illustrious company, Gwenn was hailed by critics as "magnificent" and "superlatively good".

In 1935, RKO summoned him to Hollywood to portray Katharine Hepburn's father in Sylvia Scarlett (1935). From then on, he was much in demand, appearing in Anthony Adverse (1936), All American Chump (1936), Parnell (1937), and A Yank at Oxford (1938). In 1940, he was the delightful "Mr. Bennet" in Pride and Prejudice (1940), then made a 180-degree turn by playing a folksy assassin in Alfred Hitchcock's Foreign Correspondent (1940). The year 1941 brought Cheers for Miss Bishop (1941), One Night in Lisbon (1941), The Devil and Miss Jones (1941) and Scotland Yard (1941). Then came Charley's Aunt (1941), in which he romanced Jack Benny, masquerading as a woman. Other important films included A Yank at Eton (1942), The Meanest Man in the World (1943), The Keys of the Kingdom (1944) and Between Two Worlds (1944).

In 1945, he played villain "Albert Richard Kingby" in Dangerous Partners (1945). There is a peculiar scene in this film, which makes one wonder what director Edward L. Cahn was thinking. James Craig and Signe Hasso, the hero and heroine, are being held by the villainous Gwenn in a room, when Gwenn comes in to interrogate them. In the midst of this, the 33-year-old, 6'2" Craig punches the 68-year-old, 5'5" Gwenn in the belly and then forces the doubled-over Gwenn to release them. Admittedly, Craig and Hasso must escape, and Gwenn's character is pretty evil, but knocking the wind out of the old man makes Craig seem like a bully and far less sympathetic.

After "Dangerous Partners", Gwenn was in Bewitched (1945), She Went to the Races (1945), Of Human Bondage (1946), Undercurrent (1946), Life with Father (1947), Green Dolphin Street (1947) and Apartment for Peggy (1948). In Thunder in the Valley (1947), he played one of his most unlikable characters, a father who beats his son, smashes his violin and shoots his dog.

Then in 1947, he struck it rich. Twentieth Century-Fox was planning Miracle on 34th Street (1947). It had offered the role of "Kris Kringle" to Gwenn's cousin, the well-known character actor Cecil Kellaway, but he had turned it down with the observation that "Americans don't like whimsy". Fox then offered it to Gwenn, who pounced on it. His performance was to earn him an Academy Award as Best Supporting Actor (at age 71) and, because it is rerun every Christmas season, he would become for many their all-time favorite screen Santa. Accepting the award, Gwenn said, "Now I know there is a Santa Claus". He beat out some stiff competition: Charles Bickford (The Farmer's Daughter (1947)), Thomas Gomez (Ride the Pink Horse (1947)), Robert Ryan (Crossfire (1947)) and Richard Widmark (Kiss of Death (1947)). As soon as he got the part, Gwenn went to work turning himself into Santa Claus. Though rotund, Gwenn didn't feel he was rotund enough to look like the jolly old elf most people expected after having read Clement Moore's "The Night before Christmas", in which Santa "had a broad face and a little round belly / That shook when he laughed like a bowlful of jelly." He could of course wear padding, but he resisted that as too artificial. So he put on almost 30 pounds for the role, a fair amount for a man of his short stature, and added nearly five inches to his waistline. The problem was that after the film was finished, Gwenn found it hard to lose the extra weight. "I've been stocky all my adult life," he said, "but now I must accept the fact that I'm fat." As was his nature, he didn't get upset, and instead was able to laugh about it. Six years later, when playing an elderly professor in The Student Prince (1954), he had a scene in which he entered the Prince's chamber, struggling with the buttons of a ceremonial uniform. The line he was given was, "I'm too old to wear a uniform," but Gwenn suggested a change which stayed in the finished film, "I'm too old and fat to wear a uniform."

Gwenn had lost his hair early on, and had no more concern about it than he did about his portliness. In a fair number of films, such as Pride and Prejudice (1940), he appears bald, but he also played many roles with a toupee if he felt that worked better for the character. He would select a hairpiece that helped achieve the look he was after for the role. As regards the rest of his appearance, Gwenn is commonly listed as 5'6" tall, which may have been accurate when he was a younger man, but by the time he was a Hollywood regular he appears to be at least two inches shorter. Plagued by weak eyesight since his youth, Gwenn wore a pince-nez for a while, and then glasses, off-screen and sometimes on. Though he enjoyed fine clothes, he does not seem to have been in the least bit vain about any physical shortcomings he may have had. He looked a bit like a benign clergyman, perhaps of the Anglican faith, an image enhanced by his soft, almost soothing voice. He once said he was "always short and stocky, and not a particularly handsome thing. I could never play romantic leads." After "Miracle on 34th Street," however, Gwenn was a star and constantly in demand, especially when the role called for a kindly eccentric.

Gwenn remained a British subject all his life. When he first moved to Hollywood, he lived at the Beverly Wilshire Hotel in Beverly Hills. His home in London had been reduced to rubble during the bombings by the Luftwaffe in World War II. Only the fireplace survived. What Gwenn regretted most was the loss of the memorabilia he had collected of the famous actor Henry Irving. Eventually Gwenn bought a house at 617 North Bedford Drive in Beverly Hills, which he was to share with his secretary and "confidential man", Ernest C. Bach, and later with former Olympic athlete Rodney Soher.

The year 1950 brought a pair of interesting films. In Louisa (1950) he and Charles Coburn were romantic rivals for the hand of Spring Byington. In one scene Gwenn socks Coburn in the jaw, though Coburn later bests him in arm wrestling. Gwenn wins Byington's hand in the end. He was also delightful in Mister 880 (1950) as a kindly counterfeiter. Gwenn received his second Oscar nomination for his performance, though this time he lost out to George Sanders in All About Eve (1950) He did, however, win the Golden Globe Award.

In 1952 he appeared in Sally and Saint Anne (1952) as Grandpa Patrick Ryan, affecting an Irish brogue for the role. He played football coach Pop Doyle, teamed up with a chimpanzee, in Bonzo Goes to College (1952). "The Student Prince" followed in 1954, as did the science-fiction classic Them! (1954). This film raises an interesting observation. The year before, Cecil Kellaway had appeared in another sci-fi classic, The Beast from 20,000 Fathoms (1953). Watch the two films together and you'll see that the two cousins are playing essentially the same role, that of an elderly scientist with a lovely daughter who is able to provide the hero, and the audience, with some scholarly background on the dangers they face. The two actors could easily have switched roles. "Them!" is noteworthy, too, in that it was a particularly physically painful part for Gwenn. By this time he was 77 and suffering from advanced arthritis. Several scenes in the movie were filmed in the desert, where the temperature often reached 110 degrees. The costumer had outfitted him in a wool suit for some of the early scenes. Joan Weldon, who played his daughter, has noted that Gwenn was in great discomfort and almost certainly could not have continued without the help of his valet, Ernest.

The next year Gwenn was in It's a Dog's Life (1955) and The Trouble with Harry (1955). His film work has some interesting patterns. "Dog's Life" was at least the third time Gwenn made a film centered on a dog. He had already co-starred with Pal as Lassie in Lassie Come Home (1943) and Challenge to Lassie (1949). "Harry" was Gwenn's fourth picture directed by Alfred Hitchcock, the others being "The Skin Game", Strauss' Great Waltz (1934) and "Foreign Correspondent". Gwenn's last feature film was The Rocket from Calabuch (1956), shot in Spain and released in 1958, when he was 81. As for TV, his most memorable role may have been as a snowman that comes to life in a Christmas night telecast on The Ford Television Theatre (1952) from a story by Nathaniel Hawthorne, "Heart of Gold".

Gwenn's final days were spent at the Motion Picture Home in Woodland Hills, California. Having endured terrible arthritis for many years, he had suffered a stroke, and then contracted pneumonia, from which he died at age 81 on September 6, 1959. His body was cremated, and his ashes were originally stored in a private vault at the Chapel of the Pines Crematory in Los Angeles. In March 2023, Gwenn's misplaced urn was found in the vault by Hollywood Graveyard creator Arthur Dark and researcher Jessical Wahl. Dark and Wahl created a GoFundMe campaign to fund moving Gwenn's urn to a publicly accessible location and, on December 3, 2023, Gwenn's urn was reinurned in the Cathedral Mausoleum at Hollywood Forever Cemetery.

Gwenn had appointed Rodney Soher as the executor of his will, in which he had left Minnie Terry one-third of his estate, his sister Elsie Kellaway a third, and Ernest Bach a third, in addition to his clothes, shoes, linens, ties and luggage. However, for some reason, while he was spending his last days at the Motion Picture Home, Gwenn signed a codicil to his will, in which he said he had given Bach the lump sum of $5000, and that was all he was to receive. After Gwenn's death, Bach challenged the codicil, claiming that Gwenn was not of sound mind while in the Home and that some unnamed person--possibly referring to Soher--had unduly influenced Gwenn to change his will. The outcome is not known. There is a story that has been around for years that shortly before he died a visitor observed, "It must be hard [to die]", to which Gwenn replied, "Dying is easy. Comedy is hard". The story and the wording vary somewhat from teller to teller. Gwenn may indeed have said it, but he may have been repeating someone else. The quotation has also been ascribed to several earlier wits, including his mentor George Bernard Shaw and the famous actor Edward Keane. Gwenn's star on the Hollywood Walk of Fame can be found at 1751 Vine Street.

Richard Widmark established himself as an icon of American cinema with his debut in the 1947 film noir Kiss of Death (1947), in which he won a Best Supporting Actor Academy Award nomination as the killer Tommy Udo. Kiss of Death (1947) and other noir thrillers established Widmark as part of a new generation of American movie actors who became stars in the post-World War II era. With fellow post-War stars Kirk Douglas and Robert Mitchum, Widmark brought a new kind of character to the screen in his character leads and supporting parts: a hard-boiled type who does not actively court the sympathy of the audience. Widmark was not afraid to play deeply troubled, deeply conflicted, or just downright deeply corrupt characters.

After his debut, Widmark would work steadily until he retired at the age of 76 in 1990, primarily as a character lead. His stardom would peak around the time he played the U.S. prosecutor in Judgment at Nuremberg (1961) as the 1950s segued into the 1960s, but he would continue to act for another 30 years.

Richard Weedt Widmark was born in Sunrise Township, Minnesota, to Ethel Mae (Barr) and Carl Henry Widmark. His father was of Swedish descent and his mother of English and Scottish ancestry. He has said that he loved the movies from his boyhood, claiming, "I've been a movie bug since I was 4. My grandmother used to take me". The teenaged Widmark continued to go to the movies and was thrilled by Dracula (1931) and Frankenstein (1931). "I thought Boris Karloff was great", Widmark said. Although he loved the movies and excelled at public speaking while attending high school, Widmark attended Lake Forest College with the idea of becoming a lawyer. However, he won the lead role in a college production of, fittingly enough, the play "Counsellor-at-Law", and the acting bug bit deep. After taking his bachelor of arts degree in 1936, he stayed on at Lake Forest as the Assistant Director of Speech and Drama. However, he soon quit the job and moved to New York to become an actor, and by 1938 he was appearing on radio in "Aunt Jenny's Real Life Stories". He made his Broadway debut in 1943 in the play "Kiss and Tell" and continued to appear on stage in roles that were light-years away from the tough cookies he would play in his early movies.

After World War II, he was signed by 20th Century-Fox to a seven-year contract. After seeing his screen test for the role of Tommy Udo, 20th Century-Fox boss Darryl F. Zanuck insisted that the slight, blonde Widmark - no one's idea of a heavy, particularly after his stage work - be cast as the psychopath in Kiss of Death (1947), which had been prepared as a Victor Mature vehicle. Even though the role was small, Widmark stole the picture. The publicity department at 20th Century-Fox recommended that exhibitors market the film by concentrating on thumping the tub for their new antihero. "Sell Richard Widmark" advised the studio's publicity manual that an alert 20th Century-Fox sent to theater owners. The manual told local exhibitors to engage a job printer to have "wanted" posters featuring Widmark's face printed and pasted up. He won a Golden Globe and an Oscar nod for the part, which led to an early bout with typecasting at the studio. Widmark played psychotics in The Street with No Name (1948) and Road House (1948) and held his own against new Fox superstar Gregory Peck in the William A. Wellman western Yellow Sky (1948), playing the villain, of course. When his pressuring the studio to let him play other parts paid off, his appearance as a sailor in Down to the Sea in Ships (1949) made headlines: Life magazine's March 28, 1949, issue featured a three-page spread of the movie headlined "Widmark the Movie Villain Goes Straight". He was popular, having captured the public imagination, and before the decade was out, his hand- and footprints were immortalized in concrete in the court outside Grauman's Chinese Theatre in Hollywood.

The great director Elia Kazan cast Widmark in his thriller Panic in the Streets (1950), not as the heavy (that role went to Jack Palance) but as the physician who tracks down Palance, who has the plague, in tandem with detective Paul Douglas. Widmark was establishing himself as a real presence in the genre that later would be hailed as film noir. Having proved he could handle other roles, Widmark didn't shy away from playing heavies in quality pictures. The soon-to-be-blacklisted director Jules Dassin cast him in one of his greatest roles, as the penny-ante hustler Harry Fabian in Night and the City (1950). Set in London, Widmark's Fabian manages to survive in the jungle of the English demimonde, but is doomed. Widmark was masterful in conveying the desperation of the criminal seeking to control his own fate but who is damned, and this performance also became an icon of film noir. In that same year, he appeared in Oscar-winning writer-director Joseph L. Mankiewicz's No Way Out (1950) as a bigot who instigates a race riot.

As the 1950s progressed, Widmark played in westerns, military vehicles, and his old stand-by genre, the thriller. He appeared with Marilyn Monroe (this time cast as the psycho) in Don't Bother to Knock (1952) and made Pickup on South Street (1953) that same year for director Samuel Fuller. His seven-year contract at Fox was expiring, and Zanuck, who would not renew the deal, cast him in the western Broken Lance (1954) in a decidedly supporting role, billed beneath not only Spencer Tracy but even Robert Wagner and Jean Peters. The film was well respected, and it won an Oscar nomination for best screenplay for the front of Hollywood 10 blacklistee Albert Maltz. Widmark left Fox for the life of a freelance, forming his own company, Heath Productions. He appeared in more westerns, adventures and social dramas and pushed himself as an actor by taking the thankless role of the Dauphin in Otto Preminger's adaptation of George Bernard Shaw's Saint Joan (1957), a notorious flop that didn't bring anyone any honors, neither Preminger, his leading lady Jean Seberg, nor Widmark. In 1960, he was appearing in another notorious production, John Wayne's ode to suicidal patriotism, The Alamo (1960), with the personally liberal Widmark playing Jim Bowie in support of the very conservative Wayne's Davy Crockett. Along with character actor Chill Wills, Widmark arguably was the best thing in the movie.

In 1961, Widmark acquitted himself quite well as the prosecutor in producer-director Stanley Kramer's Judgment at Nuremberg (1961), appearing with the Oscar-nominated Spencer Tracy and the Oscar-winning Maximilian Schell, as well as with superstar Burt Lancaster and acting genius Montgomery Clift and the legendary Judy Garland (the latter two winning Oscar nods for their small roles). Despite being showcased with all this thespian firepower, Widmark's character proved to be the axis on which the drama turned. A little later, Widmark appeared in two westerns directed by the great John Ford, with co-star James Stewart in Two Rode Together (1961) and as the top star in Ford's apologia for Indian genocide, Cheyenne Autumn (1964). On Two Rode Together (1961), Ford feuded with Jimmy Stewart over his hat. Stewart insisted on wearing the same hat he had for a decade of highly successful westerns that had made him one of the top box office stars of the 1950s. Both he and Widmark were hard-of-hearing (as well as balding and in need of help from the makeup department's wigmakers), so Ford would sit far away from them while directing scenes and then give them directions in a barely audible voice. When neither one of the stars could hear their director, Ford theatrically announced to his crew that after over 40 years in the business, he was reduced to directing two deaf toupees. It was testimony to the stature of both Stewart and Widmark as stars that this was as far as Ford's baiting went, as the great director could be extraordinarily cruel.

Widmark continued to co-star in A-pictures through the 1960s. He capped off the decade with one of his finest performances, as the amoral police detective in Don Siegel's gritty cop melodrama Madigan (1968). With Madigan, one can see Widmark's characters as a progression in the evolution of what would become the late 1960s nihilistic antihero, such as those embodied by Clint Eastwood in Siegel's later Dirty Harry (1971). In the 1970s, he continued to make his mark in movies and, beginning in 1971, in television. In movies, he appeared primarily in supporting roles, albeit in highly billed fashion, in such films as Sidney Lumet's Murder on the Orient Express (1974), Robert Aldrich's Twilight's Last Gleaming (1977), and Stanley Kramer's The Domino Principle (1977). He even came back as a heavy, playing the villainous doctor in Coma (1978).

In 1971, in search of better roles, he turned to television, starring as the President of the U.S. in the TV miniseries Vanished (1971). His performance in the role brought Widmark an Emmy nomination. He resurrected the character of Madigan for NBC in six 90-minute episodes that appeared as part of the rotation of "NBC Wednesday Mystery Movie" for the fall 1972 season. Widmark was married for 55 years to playwright Jean Hazlewood, from 1942 until her death in 1997 (they had one child, Anne, who was born in 1945). He lived quietly and avoided the press, saying in 1971, "I think a performer should do his work and then shut up". Los Angeles Times critic Kevin Thomas thought that Widmark should have won an Oscar nomination for his turn in When the Legends Die (1972) playing a former rodeo star tutoring Frederic Forrest's character.

It is surprising to think that Kiss of Death (1947) represented his sole Oscar nomination, but with the rise of respect for film noir around the time his career began tapering off in the '70s, he began to be reevaluated as an actor. Unlike Bogart, who did not live to see his reputation flourish after his death, Widmark became a cult figure well before he retired.

Ann, born Dorothy Gatley, spent most of her childhood as an "army brat" constantly moving around before the family finally settled in New York. Ann first appeared on the stage while she spent a year attending Bryn Mawr College. She became a clerk and freelance script reader with a film company before she made her stage debut in Greenwich Village. From there she went to Broadway, and when pictures needed actors who could walk and talk, she went to Hollywood. She was signed by Pathe and made her debut, with Fredric March in Paris Bound (1929). She became a leading lady, and the roles that she played were always the same, but her co-stars changed. She was the gentle, refined heroine as in The Animal Kingdom (1932), wherein she played Daisy, the rejected fiancée of Leslie Howard. By 1933, her popularity started to decline as she appeared in a parade of tearjerkers as someone always ready to sacrifice herself for the good of others. She quit films in 1937 when she married conductor Werner Janssen, but she could not stay away. She came back five years later in Eyes in the Night (1942). Her roles after that were mature character roles for the next five years. Another break, another three films, and then in 1956 she appeared once again with Fredric March, the man with whom she started her career in The Man in the Gray Flannel Suit (1956). She continued to appear sporadically on TV in the 1960s and died at age 79 in 1981.

The youngest of five children, and born with the drab, unlikely name of Josephine Cottle on April 5, 1922, this pleasantly appealing, Texas-born, auburn-haired beauty was only seventeen months old when her father, William, passed away. The family moved from Bloomington (her home town) to McDade (between Austin and Houston), where her mother, Minnie, made ends meet as a seamstress and milliner. The family eventually settled in Houston, where Gale took dance and ice skating lessons, developed a strong interest in acting, and performed in high school dramatics. Encouraged by her teachers, Gale by chance entered and was chosen the winner of a local radio talent contest called Jesse L. Lasky's "Gateway to Hollywood" in 1939. This took her and her mother to Hollywood, where she captured the national contest title.

Handed the more exciting stage moniker of "Gale Storm", she was soon put under contract to RKO Pictures. Although she was dropped by the studio after only six months, she had established herself enough to find work elsewhere, including at Monogram and Universal. Appearing in a number of "B" musicals, mysteries and westerns, her wholesome, open-faced prettiness made her a natural for filming. The programmers, however, that she co-starred in were hardly the talk of the town. Making her inauspicious debut with Tom Brown's School Days (1940), her '40s movies bore such dubious titles as Let's Go Collegiate (1941), Freckles Comes Home (1942), Revenge of the Zombies (1943), Sunbonnet Sue (1945), Swing Parade of 1946 (1946), and Curtain Call at Cactus Creek (1950), indicating the difficulty of finding material worthy of her talent. Arguably, her better movies include the family Christmas tale It Happened on Fifth Avenue (1947), which co-starred Don DeFore; the overlooked western comedy The Dude Goes West (1948) opposite Eddie Albert; and the film noir piece The Underworld Story (1950) with Dan Duryea.

After years of toiling in films, Gale finally turned things around at age 30 by transplanting herself to the small screen. Her very first TV series, My Little Margie (1952), which was only supposed to be a summer replacement series for I Love Lucy (1951), became one of the most watched sitcoms in the early '50s while showing up in syndicated reruns for decades. Co-starring the popular film star Charles Farrell as her amiable dad, Gale's warmth and ingratiating style suited TV to a tee, making her one of the most popular light comediennes of the time. She segued directly into her second hit series as a cruise ship director in The Gale Storm Show: Oh! Susanna (1956), which was better known as "Oh! Susannah" after it went into syndication. Co-starring woebegone Zasu Pitts as the ship's manicurist and her "Ethel Mertz" counterpart, this show lasted a season longer than her first.

In the midst of all this, the (gasp!) thirty-something star dared to launch her own Las Vegas nightclub and pop recording careers. Always looking much younger than she was, she produced a number of Billboard chart makers, including "I Hear You Knocking" (her first hit), "Memories Are Made of This", "Ivory Tower" and her own cover of "Why Do Fools Fall in Love". Her most successful song of the decade was "Dark Moon", which peaked at #4.

Gale's film career took a sharp decline following the demise of her second series in 1960. Most of her focus was placed modestly on the summer stock or dinner theater circuit, doing a revolving door of tailor-made comedies and musicals such as "Cactus Flower", "Forty Carats", "The Unsinkable Molly Brown" and "South Pacific". She finally appeared again on TV in a The Love Boat (1977) segment in 1979 after nearly a two-decade absence. It was later revealed in Gale's candid autobiography "I Ain't Down Yet" (1981) and on the talk show circuit that the disappearance was triggered by a particularly vicious battle with alcohol. Years later, Gale became an outspoken and committed lecturer, helping to remove the stigma attached to such a disease, particularly as it applied to women.

Fully recovered, she has been widowed twice (by actor Lee Bonnell in 1986 and Paul Masterson in 1996). Incredibly accommodating over the years, Gale has appeared on the nostalgia and film festival circuits to the delight of her many fans. She died on June 27, 2009, at a Danville, California convalescent home at age 87.

Kathleen Byron trained for the stage at the Bristol Old Vic Theatre School, beginning her work in the movies soon after she finished her training. Her early work with Michael Powell made her name in the UK. She went to Hollywood in the 1940s and 50s but found it difficult to break into the US productions. Mainly because although everyone greatly admired her performance as Sister Ruth in Black Narcissus (1947), she was typecast and only expected to be able to play neurotic characters.

Rosemary Shirley DeCamp was the quintessential small-town American mother, a calming and steadying presence in scores of films in the 1940s and 1950s. She came to Hollywood after a successful career on the stage and in radio, making her film debut in 1941. Though she worked for many studios, she was most closely associated with Warner Bros., for whom she made many pictures, often playing a young mother or the friend or sister of the heroine. Her best-known role was probably as the mother of George M. Cohan (played by James Cagney) in the classic Yankee Doodle Dandy (1942). She also did a lot of work on television; she was a regular on The Bob Cummings Show (1961) and played Marlo Thomas's mother on That Girl (1966).

One is certainly hard-pressed to think of another true "bad girl" representative so closely identifiable with film noir than hard-looking blonde actress Audrey Totter. While she remained a "B"-tier actress for most her career, she was an "A" quality actress and one of filmdom's most intriguing ladies. She always managed to set herself apart even in the most standard of programming.

Born to an Austrian father and Swedish mother on December 20, 1917, in Joliet, Illinois, she treaded lightly on stage ("The Copperhead," "My Sister Eileen") and initially earned notice on the Chicago and New York radio airwaves in the late 1930s before "going Hollywood." MGM developed an interest in her and put her on its payroll in 1944. Still appearing on radio (including the sitcom "Meet Millie"), she made her film bow as, of course, a "bad girl" in Main Street After Dark (1945). That same year the studio usurped her vocal talents to torment poor Phyllis Thaxter in Bewitched (1945). Her voice was prominent again as an unseen phone operator in Ziegfeld Follies (1945). Audrey played one of her rare pure-heart roles in The Cockeyed Miracle (1946). At this point she began to establish herself in the exciting "film noir" market.

Among the certified classics she participated in were The Postman Always Rings Twice (1946) in which she had a small role as John Garfield's blonde floozie pick-up. Things brightened up considerably with Lady in the Lake (1946) co-starring Robert Montgomery as detective Philip Marlowe. The film was not well received and is now better remembered for its interesting subjective camera technique. Audrey's first hit as a femme fatale co-star came on loanout to Warner Bros. In The Unsuspected (1947), she cemented her dubious reputation in "B" noir as a trampy, gold-digging niece married to alcoholic Hurd Hatfield. She then went on a truly enviable roll with High Wall (1947), as a psychiatrist to patient Robert Taylor, The Saxon Charm (1948) with Montgomery (again) and Susan Hayward, Alias Nick Beal (1949) as a loosely-moraled "Girl Friday" to Ray Milland, the boxing film The Set-Up (1949) as the beleaguered wife of washed-up boxer Robert Ryan, Any Number Can Play (1949) with Clark Gable and as a two-timing spouse in Tension (1949) with Richard Basehart.

Although the studio groomed Audrey to become a top star, it was not to be. Perhaps because she was too good at being bad. The 1950s film scene softened considerably and MGM began focusing on family-styled comedy and drama. Audrey's tough-talking dames were no longer a commodity and MGM soon dropped her in 1951. She signed for a time with Columbia Pictures and 20th Century Fox as well but her era had come and gone. Film offers began to evaporate. At around this time she married Leo Fred, a doctor, and instead began focusing on marriage and family.

TV gave her career a slight boost in the 1960s and 1970s, including regular roles in Cimarron City (1958) and Our Man Higgins (1962) as a suburban mom opposite Stanley Holloway's British butler. After a period of semi-retirement, she came back to TV to replace Jayne Meadows in the popular television series Medical Center (1969) starring Chad Everett and James Daly. She played Nurse Wilcox, a recurring role, for four seasons (1972-1976). The 70-year-old Totter retired after a 1987 guest role on "Murder, She Wrote." Her husband died in 1996. On December 12, 2013, Audrey Totter died at age 95 in West Hills, California.