1900-1920, Ladies hats.

Statuesque, gorgeous Jane Winton was billed as the "Green-Eyed Goddess of Hollywood". The former Ziegfeld Follies dancer appeared in a good number of films from 1925--if not as the nominal star, then at least very high up on the list of credits. Her aloof beauty was tailor-made for playing patrician socialites, and she breezed through many such roles in both comedies and dramas. Her most famous role, ironically, was as Donna Isobel in Don Juan (1926), not because of the acting involved (although the star was John Barrymore), but because it first used the Vitaphone process to synchronize film and sound effects (though no dialogue), effectively making it a precursor to The Jazz Singer (1927), released a year later.

At Warner Brothers, Jane appeared back-to-back in the period drama My Official Wife (1926) and one of the studio's most successful comedies of the year, Why Girls Go Back Home (1926), as a seductive model. She was also third-billed as the vamp rivaling Marion Davies for the affections of Johnny Mack Brown in The Fair Co-Ed (1927), and as Davies' elder sister in her biggest hit, The Patsy (1928). She had smaller roles in two A-grade productions: the classic Sunrise (1927) and the Howard Hughes-produced World War I epic Hell's Angels (1930). At the peak of her career, Jane--at her most glamorous--essayed a murder suspect in The Furies (1930), adapted for the screen by Zoe Akins.

Jane's star faded abruptly after 1930. She made a few more appearances in several 17- and 18-minute mystery "featurettes" made at the Warner Brothers Vitaphone facilities in Brooklyn. In 1937 she left acting altogether. It is not entirely clear exactly what killed her career. One might logically surmise that it was the transition to sound pictures, yet the problem was not with the quality of her voice; in fact, she became a soprano of international repute, a one-time diva with the National Grand Opera Company in 1933, performing in "Pagliacci." Some years later she also sang on radio broadcasts in England.

In any event, Jane went globe-trotting and devoted time to her various other talents. She was said to have been a decent painter and certainly played bridge well (a tribute to one of her three husbands, Michael T. Gottlieb, a grand master of the game). In the early 1950s, the multi- faceted Jane also wrote two novels: "Park Avenue Doctor" and the period romance "Passion is the Gale," a tale of "temptation and torment" set in the Virgin Islands, featuring pirates, damsels in distress, and other expected accouterments of the genre.

Jane Winton died in 1959 at just 54. As Gloria Swanson famously said in Sunset Boulevard (1950): "There just aren't any faces like that anymore . . . ".

Pauline began as a model, appearing on the covers of magazines such as Cosmopolitan, McCall's and Ladies Home Journal. She was married to Jefferson Machamer, a cartoonist, from 1934 until his death in 1960. In 1962, she married minister Dodd Watkins, who died in 1972. She has three children: Wendy, Tom, and Laurie.

Lovely and ethereal in looks, and quite unassuming in nature, 1930s actress Evelyn Venable was born in 1913 in Cincinnati, Ohio, where she grew up and received her schooling. Both her father, Emerson Venable, and grandfather were writers/teachers. In her high school drama department, Evelyn played the top leads in their productions of "Romeo and Juliet" (Juliet) and "As You Like It" (Rosalind). Critics were so bowled over by her performances that she was cast in a professional production of "Dear Brutus" in the nearby area. Following graduation, she earned a four-year non-acting scholarship to Vassar but left after the first year to study at the University of Cincinnati. After college the acting bug returned. Encouraged by classical actor/director Walter Hampden, who was a family friend, he invited her to join his touring company where she eventually performed Ophelia to his Hamlet and Roxanne to his Cyrano. Film scouts at Paramount caught these productions and invited her to Hollywood.

Evelyn made her film debut with Cradle Song (1933) and proceeded to take on sensitive, soft-spoken leads or second leads in a number of "A" class fare including Mrs. Wiggs of the Cabbage Patch (1934) with Pauline Lord; the classic fantasy Death Takes a Holiday (1934) starring Fredric March, which is deemed her best role; David Harum (1934) and The County Chairman (1935), both Will Rogers' vehicles; and Alice Adams (1935) starring Katharine Hepburn in the title role. In each of these Evelyn looked simply luminous and proved most able, but perhaps her modest, rather delicate nature didn't carry off enough weight to make her a star. In any event, she was thereafter relegated to working at "poverty-row" studios. She started appearing in movies with titles that indicated a downhill slide was imminent -- Vagabond Lady (1935), Streamline Express (1935), North of Nome (1936), Racketeers in Exile (1937), The Headleys at Home (1938) and Hollywood Stadium Mystery (1938). One bright spot would be her sooth voicing of the "Blue Fairy" in the Disney animated classic Pinocchio (1940).

By this time, Evelyn had married Hal Mohr, the Oscar-winning cinematographer she had met on the set of one of Will Rogers' films, and bore him two daughters, Dolores and Rosalia. Interest waned for the actress, who decided that family came first and completely retired after appearing opposite Stuart Erwin Jr. in the light comedy He Hired the Boss (1943). Evelyn gamely returned to college (UCLA) where she studied Greek and Latin and attained a Master's degree. Invited to join the UCLA staff as a drama instructor, she stayed there contentedly for decades. She and Mohr lived in Brentwood, California in later years and enjoyed a 40-year marriage that lasted until his death in 1974. Evelyn died in Idaho of cancer in 1993.

Eleanor Audley was an American actress, with a distinctive voice that helped her find work as a voice actress in radio and animation. She is primarily remembered as the first actress to voice Lady Tremaine and Maleficent, two of the most memorable Disney villains.

Audley's real name was Eleanor Zellman, and she was from New York City. She was Jewish, but little is known about her family background and she apparently never married.

She made her acting debut in 1926, aged 20, at the Broadway production of "Howdy, King". She remained primarily a theatrical actress through the 1920s and the 1930s. During the 1940s, Audley started playing a number of prominent roles in radio serials. Among them was mother-in-law Leticia Cooper in "My Favorite Husband" (1948-51), receptionist Molly Byrd in "The Story of Dr. Kildare" (1949-51), and neighbor, Elizabeth Smith in "Father Knows Best" (1949-54).

Audley was hired by Disney to play the role of wealthy widow Lady Tremaine in the animated feature film "Cinderella" (1950). Audley was also used as the live-action model of the character, and her facial features were used by the animators who designed the character. In the film, Lady Tremaine is depicted as the abusive stepmother of Cinderella (voiced by Ilene Woods) and the domineering mother of Anastasia Tremaine (voiced by Lucille Bliss) and Drizella Tremaine (voiced by Rhoda Williams). The film was a box office hit, and its profits helped rescue the Disney studio from a financial decline that had lasted for almost a decade.

For the rest of the decade, Audley appeared regularly in supporting roles in film, and guest roles in television. She returned to animation when hired to voice the evil fairy Maleficent in "Sleeping Beauty" (1959). As before, Audley was also used as a live-action model for the character. During the film's production, Audley was struggling with tuberculosis. While nominally the villain, Maleficent received more screen-time in the finished film than titular protagonist Princess Aurora (voiced by singer Mary Costa).

"Sleeping Beauty" had box office receipts of more than $51 million in the U.S. and Canada, against a budget of $6 million. It finished the year second in ticket sales, behind the number one film, "Ben-Hur." Audley was not invited to voice other villains. The film earned critical and popular acclaim through later re-releases, and Maleficent has been revived many times by Disney. But never with her original voice actress.

In the 1960s, Audley played supporting roles in then-popular television series. Among her most prominent roles were Irma Lumpkin in "The Many Loves of Dobie Gillis", Peggy Billings in "The Dick Van Dyke Show", Millicent Schuyler-Potts in "The Beverly Hillbillies" , Aunt Martha in "Mister Ed", Jenny Teasley in "Pistols 'n' Petticoats", Eunice Douglas in "Green Acres", and Beatrice Vincent in "My Three Sons".

Audley worked with Disney again to voice psychic medium Madame Leota in the Haunted Mansion attractions in Disneyland and Walt Disney World. Leota is depicted as a ghost who communicates with the living, and other actresses have since voiced the character.

Her long career ended prematurely in the 1970s, due to increasingly poor health. She lived in retirement until her death in 1991, at the age of 86. The cause of death was respiratory failure. Audley was interred at the Mount Sinai Memorial Park Cemetery in Los Angeles. Her character of Madame Leota received its own tombstone in 2001. The epitaph reads: "Dear sweet Leota, beloved by all. In regions beyond now, but having a ball."

Auburn-haired Arleen Whelan was born in Salt Lake City, but spent her early childhood in Pueblo, Colorado, where she attended High School. Her father was an electrician, who, upon opening his own electrical store in Los Angeles, moved the family westward. Arleen was enrolled in a beauty college and learned hairdressing and manicure, soon finding work for $18 a week in a salon on Hollywood Boulevard. There, she was 'discovered' by director H. Bruce Humberstone, who dropped in for a shave and ended up suggesting her name, as a likely candidate for movie stardom to Darryl F. Zanuck. In May 1937, she was signed to a seven-year contract by 20th Century Fox, her salary now between $50 and $300 per week.

Within a year, she had her first co-starring assignment, opposite Warner Baxter in Kidnapped (1938) . Next, she landed the highly prized role of pioneer woman Hannah Clay in Young Mr. Lincoln (1939), and, by 1942, Arleen also made the jump to Broadway, appearing as one of "The Doughgirls" (the other two were Virginia Field and Doris Nolan). She was not cast in the 1944 film version, however - that part going to Jane Wyman. Still, Hollywood's publicity machine went into full gear, making the most out of Arleen's affairs with actors Richard Greene and Tyrone Power. In 1945, Arleen was voted 'the most perfect all-over beauty' by a panel of magazine illustrators, but her career was already on the wane. Out of contract, and dissatisfied with her roles thus far, Arleen left Hollywood to live with her New York-based second husband, a Paramount executive. Her stay was short-lived, as was her marriage.

There were still a couple of good screen roles to come for Arleen as a free-lance actress. She popped up as busybody Valerie Shepherd in the political satire The Senator Was Indiscreet (1947), a performance critic Bosley Crowther described as 'cute' (December 27, New York Times). There was also another good lead, opposite Charles Winninger in director John Ford's own favourite among his films, The Sun Shines Bright (1953). For the remainder, at least, Arleen lent some glamour to the B-western she made for Republic and for Albert C. Gannaway's independent production company. After 1957, one of Hollywood's best-looking redheads called it a day and left the screen to improve her already impressive golf handicap.

Kelly Jean Peters was born on 2 July 1940 in Columbus, Ohio, USA. She is an actress, known for Little Big Man (1970), Poltergeist II: The Other Side (1986) and Quincy, M.E. (1976). She was previously married to Tim McIntire.

Helen Amelia Gilbert was one of those finds for whom everyone had high hopes, and who quickly made a splash in Hollywood, though not due to her acting, which was average at best. She appeared more in gossip columns than on the silver screen, and as her acting career waned, her notoriety grew because of her affairs, marriages, separations, and divorces. And then suddenly she vanished from the spotlight only to have her name appear just one last time in an obituary column.

Helen is born into a musical family, her father, Vaughn Gilbert, owning a music store where she played a variety of instruments as a child. She's inspired by Pablo Casals and dives into studying the cello, winning a scholarship to the Curtis Institute of Music in Philadelphia.

After graduating, Helen becomes a concert artist, playing at a variety of locations, but it's while performing at the Hollywood Bowl where she is discovered by Herbert Stothart and is given a seat in his MGM orchestra.

In November of 1936, she marries the assistant musical director at Columbia, Mischa Bakaleinikoff, in Tijuana, Mexico. He's 46; she's 21.

Two years later while her orchestra is recording for the upcoming musical Sweethearts (1938), director Fred M. Wilcox spots her and her acting career begins.

Her first role is as Miss Rose Meredith, Andy Hardy's high school "crush" and drama teacher in Andy Hardy Gets Spring Fever (1939).

Not long after that she separates from her husband in October of 1939, declaring that she will soon file suit for divorce. When asked, she claims, "It was an amicable separation," and is next spotted around the town with Lew Ayres. She responds to gossip columnists that they are just "good pals who happen to be working on the same picture," The Secret of Dr. Kildare (1939).

In November she wins an uncontested divorce from Bakeleinkoff on charges that he was rude to her and her friends. She's next spotted with Howard Hughes at the annual Motion Picture Guild Christmas charity party. Now Hughes was quite famous for his attraction to Hollywood beauties, and Helen Gilbert is most definitely a beauty, but it's her fling with Hughes that starts to quash her rise to stardom.

Over the next two years she's seen everywhere by columnists, accompanied by a host of gentlemen friends: Victor M. Orsatti, William Marshall, Billy Blackewell, Richard Denning, Tom Harmon, and finally Seymour J. Chotiner, whom she marries in March of 42.

All this time she's been receiving star treatment from MGM. She's touted as "the new personality" in the trailer for the upcoming Dr. Kildare film in which she plays a patient with psychosomatic blindness. She's also landed the lead in Florian (1940). But as film historian David J. Hogan writes, "In the eyes of MGM Chief Louis B. Mayer, a contract actress who associated with Hughes was foolish and probably not deserving of star treatment."

Hogan also believes that it was because of Hughes that Gilbert lost the role of Glinda the good witch in the The Wizard of Oz (1939) to Billie Burke.

In 1942 she plays the role of the femme fatale in The Falcon Takes Over (1942) and separates from Chotiner after five short months of marriage.

This time it's Chotiner who gets the uncontested divorce, complaining that "during five months of marriage, I had only one meal at home," but she and Chotiner soon reconcile before the divorce decree becomes final.

Less than two years later, they part again. Helen files for divorce, and this time while Chotiner tells columnists that "careers and marriages do not mix," she's charging him with extreme cruelty without provocation. It's during this roller coaster of a marriage that Helen is cast in the not very coveted role of "girl on a trolley" in Meet Me in St. Louis (1944).

She might not have had much to offer movie goers at that time, but the tabloids are quickly lit up again when, after a whirlwind romance with Victor Makzoume, the owner of Victor's Café on Sunset Strip and ex-husband of Claire Alexander, they marry. He is 12 years her senior.

She lands a lead role in the 1946 film God's Country (1946), shot in Cinecolor, but the reviews are mixed and the next time we hear about her is again in the newspapers when she and her husband, Makzoume report that their Hollywood home had been burglarized of jewelry, clothing, and a number of bottles of expensive perfumes. The take is estimated at $15,000.00.

After finishing up Death Valley (1946), lauded as "A Dramatic Screen Triumph in Gorgeous Color, Set Against the Background of Nature's Most Treacherous and Mysterious Land," moviegoers are not at all impressed, so Helen decides to take time off to escort her husband to Lebanon to visit his family. Unfortunately, Makzoume has a heart attack at the Grand Hotel in Rome, and Helen is at his bedside as he passes away at age 45.

Helen had been preparing to make her movie comeback while in Europe with one film being shot in Paris and another in Rome, but in June of 1948, Dorothy Manners reports in her column that, "She is so shaken and grief stricken she called off both contracts to bring his body back to this country."

The courts grant Helen an allowance of $650 (nearly $6,000 in today's money) pending distribution of Makzoume's estate, of which she'll eventually get half, with the rest going to his mother and sister.

By September of that year, gossip columnists report her back "as pretty as ever" at the Band Box, a jazz and comedy club in Hollywood, accompanied by Jimmy Valentine, a famous one-legged dancer.

But it's the following February when newspapers are deliciously abuzz with the story of her secret marriage to Johnny Stompanato, a bodyguard and money man for Mickey Cohen, head of the Cohen crime family. This time Helen is 33 and Stompanato is 23.

In July of that same year, she testifies at her divorce hearing that, "Johnny had no means. I did what I could to support him."

Johnny would eventually be killed by Lana Turner's daughter, who stabbed him to death in 1958. In court it came out that he'd been violent with Turner and his death was ruled justifiable homicide, because Cheryl had been defending her mother from a vicious beating.

Just two months after divorcing Stompanato, Helen marries James E. Durant, the Flamingo Hotel casino manager. The ceremony is short and sweet, and performed by a Justice of the Peace, but the gossip columns get it wrong when they report this being her sixth marriage. Somehow in the count, they'd tossed in Bill Marshal, with whom she'd had a fling, but never married.

Historians aren't quite sure why the Las Vegas marriage had to have a "do-over" but in February of 1950, they are again married, this time in Coolidge, Arizona. It would be just four short months' later when Helen files for divorce, charging him with cruelty.

Not one to rest on her reputation, while awaiting her divorce she promises herself to Charles, A. Hubbard, heir to a fortune in the Bahamas. He gives her a $17, 000.00 ($180,000.00 in today's money) diamond ring on Christmas Day, 1949 with the understanding that they will soon be wed.

However, in January, her love for Hubbard has cooled, and she refuses to return the ring, opting instead to reconcile with Durant. They will stay married for almost two years, and their divorce will make history as the courts cannot decide if they are married or not.

She claims that he tried to throw her out of a window of an 11th floor apartment, and he claims they were already divorced back in Phoenix.

So two months later she marries her seventh and final husband, H. O. Bryant, someone who apparently has no background, no history, but just a future with the lovely Helen Gilbert who is now 35.

Now that she's happily married and the distribution of Makzoume's estate puts her late husband's restaurant in her control, she finally drops her divorce suit against Durant, no longer claiming their Arizona divorce to be invalid.

Her sister, Mari Finley would soon move in with her and producer Alex Gordon starts seeing both of them on a professional basis. He's thinking of casting Helen in the title role of The She-Creature (1956), but the part eventually goes to Marla English.

Helen has been out of films for six years and yearns to make a comeback. She lands a key role in the film Thief of Damascus (1952), which turns out to be a pot boiler made on a tight budget by recycling all the scenery from big budget epics of the forties such as Ali Baba and the Forty Thieves (1943) and Arabian Nights (1942). The color is spectacular and the scenery is offset by a beautiful female cast in flowing gowns, all spouting quotable lines written tongue in cheek. But the satire falls flat and it bombs at the box office. Her next three appearances are in TV series, but it's Girls in Prison (1956) where she expects finally to make her comeback.

She lands a rather racy role as Joan Taylor's lesbian cellmate, but is overshadowed by the tough-talking, plump-cheeked, peroxide blonde Adele Jergens whose performance steals the show. Helen's sister lands a bit part in the film, but other than another bit part in The She-Creature, her film career goes nowhere.

Helen would do two more episodes in TV series and then, because she is happily married, the gossip columns go silent. She quietly walks away from Hollywood never to be heard from again until her death.

Her husband, H. O. Bryant will die of a heart attack in 1987, and she follows him 8 years later having also succumbed to cardiac arrest.

Her body is cremated; her ashes scattered at sea.

Mary Doran was a graduate of New York's Columbia University where she excelled in drama classes. Having abandoned initial aspirations of becoming a teacher, the wavy-haired, blonde then attended the respected Ned Wayburn Dancing Academy - like countless other hopeful actresses - to learn tap dancing. She first appeared on stage in 'Betsy' (1926), a rare flop by Florenz Ziegfeld Jr. (and Rodgers & Hart), then in the hit 'Rio Rita'. While on Broadway, she was spotted by MGM talent scouts. Her film career lasted just eight years, from the beginning of her contract in 1928 to 1936. She briefly featured as a leading lady in at least one major film: The Broadway Melody (1929). After that, her name descended to the lower depths of the cast list, though she did have a funny bit in the Harold Lloyd screwball comedy Movie Crazy (1932). From the mid-30's, Mary was relegated to bit parts and 'quota quickies' and called it a day.

With blonde hair, big blue eyes and a big smile, Joan Blondell was usually cast as the wisecracking working girl who was the lead's best friend.

Joan was born Rose Blondell in Manhattan, New York, the daughter of Katie and Eddie Blondell, who were vaudeville performers. Her father was a Polish Jewish immigrant, and her mother was of Irish heritage. Joan was on the stage when she was three years old. For years, she toured the circuit with her parents and joined a stock company when she was 17. She made her New York debut with the Ziegfeld Follies and appeared in several Broadway productions.

She was starring with James Cagney on Broadway in "Penny Arcade" (1929) when Warner Brothers decided to film the play as Sinners' Holiday (1930). Both Cagney and Joan were given the leads, and the film was a success. She would be teamed with Cagney again in The Public Enemy (1931) and Blonde Crazy (1931) among others. In The Office Wife (1930), she stole the scene when she was dressing for work. While Warner Brothers made Cagney a star, Joan never rose to that level. In gangster movies or musicals, her performances were good enough for second leads, but not first lead. In the 1930s, she made a career playing gold-diggers and happy-go-lucky girlfriends. She would be paired with Dick Powell in ten musicals during these years, and they were married for ten years. By 1939, Joan had left Warner Brothers to become an independent actress, but by then, the blonde role was being defined by actresses like Veronica Lake. Her work slowed greatly as she went into straight comedy or dramatic roles. Three of her better roles were in Topper Returns (1941), Cry 'Havoc' (1943), and A Tree Grows in Brooklyn (1945). By the 50s, Joan would garner an Academy Award nomination for The Blue Veil (1951), but her biggest career successes would be on the stage, including a musical version of "A Tree Grows in Brooklyn."

In 1957, Joan would again appear on the screen as a drunk in Lizzie (1957) and as mature companion to Jayne Mansfield in Will Success Spoil Rock Hunter? (1957). While she would appear in a number of television shows during the 50s and 60s, she had the regular role of Winifred on The Real McCoys (1957) during the 1963 season. Her role in the drama The Cincinnati Kid (1965) was well received, but most of her remaining films would be comedies such as Waterhole #3 (1967) and Support Your Local Gunfighter (1971). Still in demand for TV, she was cast as Lottie on Here Come the Brides (1968) and as Peggy on Banyon (1971).

Helen Lynch was born on 6 April 1900 in Billings, Montana, USA. She was an actress, known for Minnie (1922), Romance of the Underworld (1928) and Bustin' Thru (1925). She was married to Carroll Nye. She died on 2 March 1965 in Miami Beach, Florida, USA.

Frances Lee was born on 5 May 1906 in Eagle Grove, Iowa, USA. She was an actress, known for Her Splendid Folly (1933), Divorce Made Easy (1929) and The Carnation Kid (1929). She died on 10 October 1999 in Cardiff-by-the Sea, California, USA.

Some of Helene Costello's films available on video are Her Crowning Glory (1911), Lulu's Doctor (1912) and Lights of New York (1928), the first all-talking feature. She worked for a time as a reader for 20th Century Fox in the early 1940s. Miss Costello died on January 26, 1957, in California's Patton State Hospital. She left behind a daughter Deirdre by her fourth husband. Deirdre now resides in Winston Salem, NC

Helen Wright was born on 28 July 1903 in Florence, Kansas, USA. She was an actress, known for Dames Ahoy (1930) and Spurs (1930). She died on 14 September 1990 in Los Angeles, California, USA.

Loretta Sayers was born on 23 February 1911 in Seattle, Washington, USA. She was an actress, known for Fifty Fathoms Deep (1931), Lover Come Back (1931) and High Speed (1932). She died on 14 September 1999 in Mission Viejo, California, USA.

Mona Rico was born on 15 July 1907 in Mexico City, Distrito Federal, Mexico. She was an actress, known for Alma de Gaucho (1930), Eternal Love (1929) and Goin' to Town (1935). She was married to ? Beltran. She died on 15 July 1994 in Los Angeles County, California, USA.

Marjorie Eaton was born on 5 February 1901 in San Francisco, California, USA. She was an actress, known for Monstrosity (1963), Night Tide (1961) and That Forsyte Woman (1949). She died on 21 April 1986 in Hollywood, California, USA.

Mildred Davis was born on 22 February 1898 in Philadelphia, Pennsylvania, USA. She was an actress, known for A Sailor-Made Man (1921), Safety Last! (1923) and Dr. Jack (1922). She was married to Harold Lloyd. She died on 18 August 1969 in Santa Monica, California, USA.

Zulema Esther Gonzalez Borbon was born in Buenos Aires on October 17, 1920. She began working as a model when she was in her teens and, at the same time, she became an extra in cheap movies. She was given more important roles in a modest studio called EFA-Establecimientos Filmadores Argentinos, but then, all of a sudden and thanks to her role in Stella (1943), she reached stardom. A beautiful, tall blonde, her talent was very limited but people did not want to see her acting. They paid their tickets to see that image. She began a relationship with director Luis César Amadori in 1941 and became one of the stars of Argentina Sono Film. After the huge success of God Bless You (1948) (aka God Reward You), star and director got married and both became co-owners of Sono Film. Mr. and Mrs. Amadori enjoyed a happy time under the first two Peron governments. They made movies in Mexico in the 1950s, but after the 1955 coup, they left Argentina and flew to Spain. Both went on working there. Moreno excelled in a movie called La noche y el alba (1958) (aka The Night and the Dawn) and showed she had learned her craft. Unfortunately, she decided to quit cinema when she was 40 years old.

In 1965, she was offered a part in an Italian-Argentine co-production starring Vittorio Gassman, but she did not bother to answer. In the 1970s, the couple returned to Argentina -- both were owners of the Maipo theater. In 1977, Mr. Amadori died, and she became sort of a recluse. Director 'Maria Luisa Bemberg' and producer Lita Stantic offered her a role in Camila (1984), but she turned it down. She died in Buenos Aires in 1999 and is still remembered as the symbol of an era.

Susi Lanner was born on 27 August 1911 in Vienna, Austria-Hungary [now Austria]. She was an actress, known for Das Schönheitsfleckchen (1936), Artisten (1935) and The Last Waltz (1934). She died on 16 March 2006 in Dobbs Ferry, New York, USA.

Barbara Bedford was born on 19 July 1903 in Eastman, Wisconsin, USA. She was an actress, known for The Last of the Mohicans (1920), Sunshine of Paradise Alley (1926) and Mockery (1927). She was married to Terry Spencer, Alan Roscoe and Irvin Willat. She died on 25 October 1981 in Jacksonville, Florida, USA.

American leading lady, born Rosemary LaBie in Chicago, Illinois, and educated at Our Lady of Loretto Academy. Diana came equipped with some stage training (from a stint with Chicago's Goodman Theatre) and had won several beauty contests before moving to Los Angeles as a high fashion model. She also posed for commercial artists. Before long, she was noticed by talent scouts and spent most of the 1930s as a minor starlet at Universal and RKO. Unfortunately, her one leading role was in what some regard as John Wayne's worst-ever film, Adventure's End (1937), effectively short-circuiting Diana's career. She made several more films until exiting stage right to become a bigger fish in a smaller pond, as Mrs. Rosemary Schropp (wife of John Jack Schropp), resident of Mount Gretna, Pennsylvania, where she performed to great acclaim in such local stage productions as 'Tillie the Mennonite Maid'.

Considered one of the most beautiful actresses of the silent era, Olive Borden was a Mack Sennett bathing beauty at 15 and reached the peak of her career in 1926 when she made 11 films for Fox Studios and was earning $1,500 a week. Refusing to take a salary cut, Borden abruptly left Fox in 1928 and made only a few pictures for other studios before retiring from films in 1938. In 1943, she joined the WACS, and after her discharge, returned to Hollywood in a failed attempt to revive her career. At the time she was quoted as saying, "Since I got out of the Army I've gone from job to job. Something always goes wrong." By 1946 she was found scrubbing floors for a living and in 1947, at the age of 40, died of a "stomach ailment" at the Sunshine Mission - a home for destitute women on Los Angeles' Skid Row.

Marguerite de la Motte was trained as a dancer, reputedly by the great ballerina Anna Pavlova, and entered films in 1918. She played opposite Douglas Fairbanks in many of his productions. Like many performers of the silent era, however, she was not able to sustain her career with the coming of talkies, and was soon relegated to smaller roles in minor productions.

This cool and classy green-eyed blonde had several more strings to her bow than your average 30's starlet. She was born Helen Johnson in New York City on August 1 1906. Schooled in New York, she completed a fine arts course at Skidmore College in Saratoga Springs and afterwards continued her studies for another two years in Paris. Returning home, she became a fashion stylist for R. H. Macy's department store and subsequently worked as a commercial artist in an advertising agency. Thus endowed with both looks and intellect, she made her way to California, set up home base in the Hollywood Hills and began acting in films by 1929. Within a year -- still billed as Helen Johnson -- she had received leads in the musical comedy Children of Pleasure (1930), the crime drama Soldiers and Women (1930) and Working Girls (1931), a 'women's picture' directed by Dorothy Arzner. In 1931, she was voted a WAMPAS Baby Star and adopted the stage name Judith Wood. Unfortunately, her year was marred by a traffic accident which resulted in a lengthy recuperation and absence from the screen.

In late 1932, Judith appeared on stage in the original Broadway production of "Dinner at Eight", playing the part of Kitty Packard, a much coveted role which went to Jean Harlow in the film version a year later. She had another motion picture lead as a blackmailing ex-con in The Crime Doctor (1934) and then, suddenly, her career was unaccountably at an end. Judith herself later suggested in an interview that her many affairs (among others, with stars William Powell and Robert Montgomery) may have had a bearing on her declining fortunes, quoted as saying "my entire life has been a near miss". Sometime in the late 30's, she married the son of "Beau Geste" author Percival Christopher Wren. After divorcing him, she had several more failed attempts to break back into films, eventually secured work as a radio actress and, finally, as a costume designer, working on "everything from operas to porno films". At least, she had the fortune to be blessed with a long life, passing away at the ripe old age of 95 in Los Angeles.

A lithe, brunette actress and photographer's model, Lita Chevret began promisingly enough at the very beginning of talking pictures. Her parents, already established in show business, helped along by paying for her dancing tuition. By the age of twenty, she worked as a professional dancer and show girl. Her proficiency as a hoofer (and her looks) secured a contract in Hollywood and a part in the Fox Movietone Follies of 1929 (1929). The following year, she was selected by the Western Association of Motion Picture Advertisers as a WAMPAS Baby Star, a selection of thirteen young hopefuls destined for better things. On this occasion, however, the list ended up not being published, partly because of confusion arising from the transition of silent pictures to sound, partly because of fallout from the Wall Street crash and partly, because of objections raised by independent producers. Poor Lita, consequently, missed out on what would have been valuable publicity.

Still, she managed to sign a three-year contract with RKO, starting off with another uncredited part in the south-of-the-border musical Rio Rita (1929), featuring the comedy duo of Bert Wheeler and Robert Woolsey. For the next few years, Lita seemed practically glued to the same company, appearing with Wheeler & Woolsey in The Cuckoos (1930) (as another dusky senorita); Everything's Rosie (1931), an attempt never to be repeated, to providing a solo vehicle for Woolsey; and Girl Crazy (1932), an expensive romp with music by the Gershwins, which also failed to recoup its cost at the box office. No improvement was the naive and shoddily-made crime drama The Pay-Off (1930). With a succession of her films now deemed palpable commercial failures, Lita found herself again relegated to the doldrums, sliding down the bottom of the cast lists. There was a glimmer of hope for her career with a sixth-billed role as Birdie Klauber in a maudlin Fannie Hurst three-handkerchief tearjerker, Symphony of Six Million (1932). Then followed another inconsequential comedy, Goldie Gets Along (1933), and a series of loan-outs to other studios. She co-starred (for once) in five two-reel comedies for Mack Sennett and in Sandflow (1937), an obscure Buck Jones western. She also had a cameo as a chorus girl in Fox's Charlie Chan's Courage (1934), and then came a succession of similar no-name parts as showgirls, secretaries and even an Indian squaw.

Lita Chevret briefly attracted newspaper headlines as one of George Raft's romantic conquests, but this was no more lasting than her remaining time in Hollywood. After a swan song in The Philadelphia Story (1940) (as a manicurist), she called it quits and retired to her home in Palm Springs. There, she lived out the rest of her days in relative obscurity, except for a wartime overseas tour with the USO.