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Max Schreck was born in Berlin. He worked in an apprenticeship until his father's death before enrolling into a school for acting. He toured the country with his peers and was a member of several theaters until he became a part of Max Reinhardt's group of innovative German actors. He played mostly out of the norm characters, the elderly and the grotesque, because of his talent and passion for make-up and costume fabrication. Although film was a challenge in which he excitedly and hopefully participated, he had small roles in films that are scarcely available, and his real career was in German theatre. He played hundreds of roles in his lifetime. He was married to Fanny Normann, a fellow performer whom he met a short time after his actor's education and shared many times with on stage. They had no children. He died on the morning of February 20th, 1936 from a heart attack.

Sydney Greenstreet's father was a leather merchant with eight children. Sydney left home at age 18 to make his fortune as a Ceylon tea planter, but drought forced him out of business and back to England. He managed a brewery and, to escape boredom, took acting lessons. His stage debut was as a murderer in a 1902 production of "Sherlock Holmes". From then on he appeared in numerous plays in England and the US, working through most of the 1930s with Alfred Lunt and Lynn Fontanne at the Theatre Guild. His parts ranged from musical comedy to Shakespeare. His film debut, occurring when he was 62 years old and weighing nearly 300 pounds, was as Kasper Guttman in the classic The Maltese Falcon (1941), with Humphrey Bogart and Peter Lorre. He teamed with Lorre in eight more movies after that. In eight years he made 24 films, all while beset by diabetes and Bright's disease. In 1949 he retired from films, and died four years later. He was 75.

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

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

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

Ethel Barrymore was the second of three children seemingly destined for the actor's life of their parents Maurice and Georgiana. Maurice Barrymore had emigrated from England in 1875, and after graduating from Cambridge in law had shocked his family by becoming an actor. Georgiana Drew of Philadelphia acted in her parents' stage company. The two met and married as members of Augustin Daly's company in New York. They both acted with some of the great stage personalities of the mid Victorian theater of America and England. The Barrymore children were born and grew up in Philadelphia. Though older brother Lionel Barrymore began acting early with his mother's relatives in the Drew theater company, Ethel, after a traditional girl's schooling, planned on becoming a concert pianist.

The lure of the stage was perhaps congenital, however. She made her debut as a stage actress during the New York City season of 1894. Her youthful stage presence was at once a pleasure, a strikingly pretty and winsome face and large dark eyes that seemed to look out from her very soul. Her natural talent and distinctive voice only reinforced the physical presence of someone destined to command any role set before her. After the opportunity to appear on the London stage with English great Henry Irving in "The Bells" (1897) and later in "Peter the Great" (1898), she returned to New York to star in the Clyde Fitch play "Captain Jinks of the Horse Marines" (1901) (produced by her friend and benefactor Charles Frohman), which brought her initial American acclaim. Lead roles, such as Nora in Henrik Ibsen's "A Doll's House" (1905) and starring in "Alice By the Fire" (also 1905), "Mid-Channel" (1910) and "Trelawney of the Wells" (1911) proved her popularity as a warm and charismatic star of American stage. In the meantime she married stockbroker Russell Griswold Colt in 1909 and gave birth to three children while continuing her acting career.

Although the stage was her first love, she did heed the call of the silver screen, and though not achieving the matinée idol image that younger brother John Barrymore garnered in silent movies after similar chemistry on stage, she won over audiences from her first film appearance in The Nightingale (1914). However, her early film roles, steady through 1919, took a back seat to continued stage triumphs: "Declassee" (1919), her impassioned Juliet in "Romeo and Juliet" (1922), "The Second Mrs. Tanqueray" (1924) and, especially, "The Constant Wife" (1926).

She harnessed her considerable talents in the role of an activist as well, being a bedrock supporter of the Actors Equity Association and, in fact, had been a prominent figure in the actors strike of 1919. By 1930 she was entering middle age and her movie roles reflected this. Except for Rasputin and the Empress (1932) with her brothers, the roles were elderly mothers and grandmothers, dowager ladies and spinster aunts. Perhaps wisely she put off Hollywood for over a decade, with stage work that included her most endearing role in "The Corn is Green" (a tour that lasted from 1940 to 1942). She finally moved to Southern California in 1940.

Yet the consummate actress glowed still in the films that came steadily in the mid-'40s and through much of the 1950s. As the mother of Cary Grant in the pensive None But the Lonely Heart (1944) she started off her late film career brilliantly by receiving the Oscar for Best Actress in a supporting role, though she was not satisfied with that effort. Her engaging wit and humanity stood out in even supporting roles, such as, the politically savvy mother of Joseph Cotten in The Farmer's Daughter (1947) and, once again with Cotton, as sympathetic art dealer Miss Spinney, with those eyes, in the haunting screen adaptation of Robert Nathan's novel Portrait of Jennie (1948). There was also a mingling of some TV work to round out her last movies in the late 1950s. In 1955 she saw her book "Memories, An Autobiography" see publication. For the enduring legacy she had already begun years before, a theater named for her was dedicated in New York in 1928. When she passed away in 1959, she was interred near her brothers at Calvary Cemetery in East Los Angeles.

Eily Malyon was born on 30 October 1879 in Islington, London, England, UK. She was an actress, known for The Little Princess (1939), The Hound of the Baskervilles (1939) and Kind Lady (1935). She was married to J. Plumpton Wilson. She died on 26 September 1961 in South Pasadena, California, USA.

Lionel Braham was born on 1 April 1879 in Yorkshire, England, UK. He was an actor, known for A Christmas Carol (1938), Skinner's Dress Suit (1926) and As You Like It (1936). He died on 6 October 1947 in Hollywood, California, USA.

Warner Oland was born Johan Verner Olund in the small village of Nyby in Bjurholm parish in the county of Vasterbotten, Sweden, on October 3, 1879. Bjurholm is situated about 60 kilometers outside the town of Umea. His family emigrated to the US on October 15, 1892. His father Jonas was a shopkeeper and his mother was Maria Johanna (nee Forsberg).

After finishing grade school and working on Broadway during his 20s, Oland settled in California in the early 1910s, where he worked odd jobs. The movie industry was in its beginning stages in Hollywood, and Johan Olund--changing his name to the more Americanized "Warner Oland"--worked as a stage actor for a while before getting small parts in films in the 1910s and 1920s. As Hollywood made the transition from silent to sound pictures in the late 1920s (Oland co-starred in Warner Brothers' groundbreaking part-talkie The Jazz Singer (1927)), he began landing more prominent roles.

His greatest success came in 1931 when he was cast in the role of Charlie Chan, a Honolulu-based Chinese-American police detective in Charlie Chan Carries On (1931), based on the popular detective mystery series by Earl Derr Biggers [1884-1933] which was produced by Fox Films. His performance as the seemingly mild-mannered but razor-sharp Asian detective won him critical acclaim, which resulted in his playing Chan again in the sequel, The Black Camel (1931).

The success of the Chan character turned into a cash cow for Fox Studios and Oland became a valuable property. It seems incredible today, but in Fox's pre-Shirley Temple period, Oland was considered the only guaranteed profit maker on the lot. He became wealthy and bred miniature schnauzers. Although seemingly happy, Oland became increasingly dependent upon alcohol and exhibited bizarre delusional behavior after periods of drinking.

Oland appeared in a total of 16 Charlie Chan feature films from 1931 to 1937. The Chan films were budgeted approaching 1930s A-picture levels (approximately $275,000) and were usually shot within tight 30-day schedules, three films per year (sadly, a number of these have apparently been lost). The series was pretty much the only guaranteed profit-maker the ailing studio could bank on during the days leading to its takeover by ex-Warner's production chief Darryl F. Zanuck in 1935, that resulted in its transformation from Fox Films into Twentieth Century-Fox.

From 1931 to 1935 Oland did other films besides the Chan series, but he was increasingly relegated to roles that didn't vary much beyond mysterious Asians, and in mid-1935 he became so identified as Charlie Chan that he was assigned to the series exclusively. His last eight films were all Chan entries, usually co-starring Keye Luke, who played Chan's Number One Son. While considered somewhat stereotypical today, these films were met with wide critical acclaim and all were hugely profitable. The best of the series is generally considered to be Charlie Chan at the Opera (1936), featuring lavish set design and a particularly effective menacing villain in Boris Karloff.

Oland's physical and mental problems slowly began to catch up to him, and in 1937 he was said to have suffered a nervous breakdown apparently due to some kind of mental dementia. The Fox executives, knowing that Oland was one of its biggest money earners, kept his alcoholism and mental problems hidden from the public. In November 1937, Edith, his wife of 30 years, filed for divorce. In January 1938 "Charlie Chan at (the) Ringside" began production at Fox's Western Avenue lot under the direction of James Tinling with an increasingly erratic Oland. After a few days shooting inside Studio 6, Oland walked out and never returned. He was heard complaining the studio was possessed by voodoo and feared contracting pneumonia. Over the next month there were numerous negotiations between Oland and SAG (Oland had been an early member) and production was briefly resumed, then suspended after Oland again failed to report to work. He was hospitalized and released, then decided to return to his mother's home in Sweden. Oland's film career, unbeknown to him, was over. In the interim, producer Sol M. Wurtzel, desperate to salvage the property, ordered the Chan picture reworked as Mr. Moto's Gamble (1938), with minor supporting cast changes. Successful negotiations were made with the Biggers' estate and the film was quickly shot with Peter Lorre and released April 7, 1938. The film itself remains an anachronism in the Moto series, as it contains much Chan-like dialog, tacked on Moto-esque action scenes and a guest-starring role by Keye Luke. Regardless, it was also a hit.

During his visit to Sweden, Oland negotiated a reconciliation with Edith but contracted bronchial pneumonia and died there on August 6, 1938, at age 57. Ironically, Fox contract (and Chan series) director John G. Blystone died the same day.

Numerous actors were tested to fill Oland's shoes as Charlie Chan, among them Cy Kendall, Walter Connolly, J. Edward Bromberg, Noah Beery Jr., Michael Visaroff and Leo Carillo (Kendall and Connelly had played Chan on radio). The series continued at Fox for another 11 entries with Sidney Toler, who was signed by Zanuck in mid-October 1938. Toler injected more humor into the character as scripts became somewhat more pedestrian. By 1942 Fox considered the series exhausted and it would ultimately be sold to low-budget studio Monogram Pictures and continue on even after Toler's death in 1947 with Roland Winters in the role through six dismal films into 1949.

In a postscript, Fox director Norman Foster paid a subtle tribute to Oland in the next Moto film, Mr. Moto's Last Warning (1938). During that movie's production in August 1938, cast and crew learned of Oland's passing in his native Sweden. Over the title Charlie Chan in Honolulu (1938), on the bill of the Sultana Theatre of Variety, they placed the banner "Last Day."

Although he made nearly 60 films in a 50-year acting career, it is for the two he made with director James Whale that Ernest Thesiger will be best remembered. Born Ernest Frederic Graham Thesiger in London on January 15, 1879, he was the grandson of the first Baron of Chelmsford. Educated at Marlbrough college and the Slade, he originally hoped to become a great painter. Greatness proved elusive, however (though he remained an accomplished watercolour artist), and he quickly turned to the theatre, making his first appearance on stage in a production of "Colonel Smith" in 1909. He put his career on hold when, in 1914, he enlisted as a private in the British army when World War I broke out (he originally hoped to join a Scottish regiment because he wanted to wear a kilt). He did see some action in the trenches but had to be sent home after being wounded (he was quoted afterwards as saying of these experiences, "My dear, the noise! And the people!"). He made his first film appearance in 1916 with The Real Thing at Last (1916) and then returned to the theatre with "A Little Bit of Fluff",' which ran for over 1200 performances and led to him appearing in a film adaptation (A Little Bit of Fluff (1919)).

In 1925 he appeared in Noël Coward's production of "On With the Dance", in which he got to show off his knack for camp performances by playing one of two elderly women sharing a boarding house. In the early 1930s his old friend, actor-turned-director James Whale (who had moved to Hollywood and was enjoying huge success with Frankenstein (1931)), requested that his friend join him there to play the role of Horace Femm in Whale's upcoming production of The Old Dark House (1932). Thesiger agreed and, along with co-star Eva Moore, stole the film, which became a huge success. He returned to Britain to make The Ghoul (1933) with Boris Karloff. Whale requested Thesiger's services in Hollywood again, this time to appear in his sequel to Frankenstein (1931), Bride of Frankenstein (1935). Thesiger was given the role of the sinister Dr. Pretorious, after Whale had refused the studio's suggestion of Claude Rains for the role. With help from Whale's direction, some classic dialogue ("Have some gin. It's my only weakness . . .", "To a new world of gods and monsters") and expert camera work (which helped accentuate his skeletal frame), Thesiger stole the show once more. He returned to Britain and, unfortunately, never worked with Whale again. He appeared in the Alexander Korda-produced The Man Who Could Work Miracles (1936) and had a memorable role in the thriller They Drive by Night (1938). He appeared with Will Hay in My Learned Friend (1943) and Don't Take It to Heart! (1944). His other notable films of the 1940s include Henry V (1944) and The Winslow Boy (1948). He returned briefly to America to appear in "As You Like It" on Broadway and afterwards divided his time between theatre and film. Notable later films include Last Holiday (1950) (as Sir Trevor Lampington, discoverer and eponym of Lampington's disease), Laughter in Paradise (1951), A Christmas Carol (1951) and The Man in the White Suit (1951) (as an elderly industry magnate). He made his last film appearance in The Roman Spring of Mrs. Stone (1961) and his last stage performance, opposite Sirs Ralph Richardson and John Gielgud, in a production of "The Last Joke". He passed away shortly afterwards, on the eve of his 82nd birthday, at his home on Gloucester Road in Kensington, London.

Born in 1879, Clem Bevans spent most of his performing career on the stage. First appearing in 1900 in a vaudeville act with Grace Emmett as a boy and girl act, he would move on to burlesque and eventually make the move to Broadway and even opera productions. His first screen appearance did not come until 1935, when at the age of 55 he was cast as toothless old codger Doc Wiggins in Way Down East (1935). So good was his performance that he would become pigeonholed into "old codger" roles for his entire movie career. Occasionally he would be given the opportunity to play something out of character, such as a voyeuristic millionaire with a fetish for women's knees in Happy Go Lucky (1943) and a Nazi spy in Alfred Hitchcock's Saboteur (1942), but he would go on to play variations of his "old coot" role until the day he died. Clem Bevans died at the Motion Picture & Television Country House and Hospital.

Unsmiling character player Lucile Watson was one of Hollywood's most indomitable mothers of the 1930s and 1940s...and you can take that both ways. The archetypal matriarch who enhanced scores of plush, soapy, Victorian-styled drama, her prickly pears could be insufferable indeed and heaven help anyone who gathered up the courage to take them on. A fiercely protective mother usually to everyone's detriment, her narrow-minded characters were overt and opinionated, customarily equipped with a withering look and slivered tongue as weapons. Having no trouble whatsoever situating themselves into any and all's business, Lucile played imperious mother to filmdom's top stars including James Stewart and Robert Taylor, and often stole a bit of the thunder from under them.

She was born on May 27, 1879 in Quebec, Canada and trained at New York's Academy of Dramatic Arts, making her first professional stage appearance in "The Wisdom of the Wise" in 1902 at the age of 23. For the next three decades plus, she played, in stark contrast to her later stereotype, frothy ladies in witty, sparkling comedy. Her superlative performance on Broadway in "The City" in 1909 guaranteed her position as a stage star. Playwright Clyde Fitch went on to use her quite frequently in his productions. Other stage successes over the years included "Under Cover" (1913), "Heartbreak House" (1920), "Ghosts" (1926), The Importance of Being Earnest (1926), "No More Ladies" (1934), "Pride and Prejudice" (1935) and "Yes, My Darling Daughter" (1936). She blossomed in both chic lead and support roles.

It took her longer, however, to bloom on film... and it was not as a leading lady. She didn't make her film bow until age 55 in the Helen Hayes vehicle What Every Woman Knows (1934). She then slowly moved up the credits list after playing minor servile roles at first. Her first noticeable support was as Norma Shearer's advice-spouting mom in the classic Clare Boothe Luce film adaptation of The Women (1939) in which she expounds on the inescapable infidelities of husbands and the importance of saving face in high society. Better yet was her thorny, smothering mother to James Stewart in Made for Each Other (1939) in which she squares off with Carole Lombard who poses a threat as a possible daughter-in-law. So too was her cool-as-ice matriarch in Waterloo Bridge (1940) as she tries to separate son Robert Taylor from Vivien Leigh's fiancé with a sordid past.

Lucile reached the apex of her adult career with Lillian Hellman's anti-fascist war drama "Watch on the Rhine" (1941) starring Paul Lukas on Broadway. Two years later she and Lukas preserved their brilliance on film. Co-starring Bette Davis, Watch on the Rhine (1943) won Lukas the Academy Award for "best actor" and Lucile was acknowledged for her matriarchal supporting turn, but lost to Katina Paxinou for her work in For Whom the Bell Tolls (1943).

Lucile continued to set a pattern of excellence in the post-war years with arch supports in such films as My Reputation (1946) as Barbara Stanwyck iron-willed mom, the class Disney film Song of the South (1946) and cranky Aunt March in the MGM remake of Little Women (1949). She wound up her film career wreaking havoc in the musical Let's Dance (1950) as Betty Hutton's maligning mother-in-law and in the overly melodramatic My Forbidden Past (1951) as newly-rich Ava Gardner's scheming great aunt. Following a return to the stage and some scattered work in television anthologies, Lucile retired in 1954 at the age of 75 to live out her last years in New York.

Lucile's first marriage somewhere around 1910 to actor Rockliffe Fellowes was brief. She subsequently married playwright Louis Evan Shipman in 1928, a union that lasted until his death in 1933. The character veteran passed away on June 25, 1962, after suffering a heart attack at age 83.

Famed for his relentless ambition, bad temper and genius for publicity, Samuel Goldwyn became Hollywood's leading "independent" producer -- largely because none of his partners could tolerate him for long. Born Shmuel (or Schmuel) Gelbfisz, probably in 1879, in the Jewish section of Warsaw, he was the eldest of six children of a struggling used-furniture dealer. In 1895 he made his way to England, where relatives Anglicized his name to Samuel Goldfish. There he begged (or stole) enough money for a ticket in steerage across the Atlantic. He reached the US, probably via Canada, in 1898. He gravitated to Gloversville, New York, in the Adirondack foothills, which was then the capital of the US leather glove industry; he became one of the country's most successful glove salesmen. After moving his base of operations to Manhattan and marrying the sister of Jesse L. Lasky, who was then a theatrical producer, Goldfish convinced Lasky and Cecil B. DeMille to go into film production. The new company's first film, The Squaw Man (1914), was one of the first features made in Hollywood; the company later became the nucleus of what would later become Paramount Pictures. As his marriage fell apart, Goldfish dissolved his partnership with Lasky. His next enterprise was the Goldwyn Co., founded in 1916 and named for himself and his partners, brothers Edgar Selwyn and Archibald Selwyn--Goldfish liked the name so much he took it for his own. The Goldwyn Co.'s stars included Mabel Normand, Madge Kennedy and Will Rogers, but its most famous legacy was its "Leo the Lion" trademark, which was adopted by its successor company, Metro-Goldwyn-Mayer (MGM). Goldwyn himself was ousted from his own company before the merger, which was why his name became part of MGM even though he himself had nothing to do with the company. After his firing Goldwyn would have nothing to do with partners and went into independent production on his own, and for 35 years was the boss and sole proprietor of his own production company, a mini-studio specializing in expensive "quality" films, distributed initially by United Artists and later by RKO. His contract actors at various times included Vilma Bánky, Ronald Colman, Eddie Cantor, Gary Cooper, David Niven and Danny Kaye. In some cases, Goldwyn collected substantial fees for "lending" his stars to other producers. Touted by publicists for his "Goldwyn touch" and loathed by many of his hirelings for his habit of ordering films recast, rewritten and recut, Goldwyn is best remembered for his films that teamed director William Wyler and cinematographer Gregg Toland.

The grand, highly flamboyant Russian star Alla Nazimova of Hollywood silent films lived an equally grand, flamboyant life off-camera, though her legendary status has not held up as firmly as that of a Rudolph Valentino today.

Alla Nazimova was born Miriam Edez Adelaida Leventon in 1879, in Yalta, Crimea, in the Russian Empire, to Jewish parents, Sonya Horowitz and Yakov Leventon. She was the third child in an abusive, contentious household. Most of her sad childhood was spent in foster homes or in the care of other relatives and she showed a strong penchant for outrageous behavior to cope. Nazimova also showed a great aptitude for music at a young age and began violin lessons at age seven. She changed her name to Alla Nazimova when she began appearing on stage--her father insisted on it, as "performing" was not considered respectable at the time.

She began acting lessons at age 17 and joined Konstantin Stanislavski's company of actors as a pupil of his "method style" at the Moscow Art Theatre. During that time she supported herself by being kept by rich, older men. A failed love affair led to her only marriage, to an acting student named Sergei Golovin, but they separated quickly. She grew discontented with Stanislavsky and later performed in repertory. She met the legendary Pavel Orlenev, a close friend of Anton Chekhov and Maxim Gorky, and entered into both a personal and professional relationship with him. They toured internationally throughout Europe with great success and came to New York in 1905, where Nazimova was saluted on Broadway for her definitive interpretations of Henrik Ibsen's "Hedda Gabler" and "A Doll's House." Orlenev returned to Russia but Nazimova stayed.

She made her screen debut with War Brides (1916), which was initially a 35-minute play. By 1918 she was a box-office star for Metro Pictures and completed 11 films for the studio over a three-year period. A torrid, stylish and rather outré tragedienne who played exotic, liberal women confronted by great personal anguish, she earned personal successes as a reformed prostitute in Revelation (1918), a suicide in Toys of Fate (1918) and dual roles as half-sisters during the Boxer Rebellion in The Red Lantern (1919), not to mention the title role of Camille (1921) with Rudolph Valentino. At the same time she maintained a strong Broadway theatrical career.

In accordance with her rise in the film industry, she began producing her own efforts, which were bold and experimental--and monumental failures, although they are hailed as great artistic efforts today. Her Salomé (1922) was quite scandalous and deemed a failure at the time. The monetary losses she suffered as producer were astronomical. The Hays Code, which led to severe censorship in pictures, also led to her downfall, as did her outmoded acting style. She was forced to abandon films for the theater, scoring exceptionally well in Anton Chekhov's "The Cherry Orchard." She did return to films briefly in the 1940s in a variety of supporting roles, but she made these solely for the money.

Nazimova's private life has long been the subject of industry gossip. As a Hollywood cover to her well-known bisexual lifestyle, she coexisted in a "marriage" with gay actor Charles Bryant for well over a decade. Her "Garden of Allah" home was the centerpiece for many glamorous private parties. She died in 1945.

World-famous, widely popular American humorist of the vaudeville stage and of silent and sound films, Will Rogers graduated from military school, but his first real job was in the livestock business in Argentina, of all places. He transported pack animals across the South Atlantic from Buenos Aires to South Africa for use in the Boer War (1899-1902). He stayed in Johannesburg for a short while, appearing there in Wild West shows where he drew upon his expertise with horse and lasso. Returning to America, he brought his talents to vaudeville and by 1917 was a Ziegfeld Follies star. Over the years he gradually blended into his act his unique style of topical, iconoclastic humor, in which he speared the efforts of the powerful to trample the rights of the common man, while twirling his lariat and perhaps chewing on a blade of straw. Although appearing in many silents, he reached his motion-picture zenith with the arrival of sound. Now mass audiences could hear his rural twang as he delivered his homespun philosophy on behalf of Everyman. The appeal and weight of his words carried such weight with the average citizen that he was even nominated for governor of Oklahoma (which he declined).

Robert Elliott was born on 9 October 1879 in Columbus, Ohio, USA. He was an actor, known for Romance of the Underworld (1928), The Maltese Falcon (1931) and Lights of New York (1928). He was married to Ruth Thorp. He died on 15 November 1951 in Los Angeles, California, USA.

By the time that he was 20, Lewis Stone had turned prematurely grey. He enlisted to fight in the Spanish American War and when he returned, he returned to be a writer. This turned to acting and he began to appear in films during the middle teens. His career was again interrupted by war as he served in the cavalry during World War I. After the war, he returned to films and quickly graduated to lead roles. With his distinguished look and grey hair, he was able to play the roles of well mannered romantic men. In 1921, Lewis starred in Don't Neglect Your Wife (1921). In the next year, he starred with Alice Terry, who played the heroine, and Ramon Novarro in The Prisoner of Zenda (1922) and Scaramouche (1923). In 1924, Metro merged into the new MGM where Lewis remained for the rest of his career. He was busy over the next few years and garnered an Academy Award nomination for The Patriot (1928). In 1928, he appeared in the first of a series of pictures with Greta Garbo. In A Woman of Affairs (1928) he played the older doctor, a friend of the family. But two years later in Romance (1930), he played her lover.

Lewis made the transition from silent to sound with The Trial of Mary Dugan (1929), which starred Norma Shearer. Sound did not cause Lewis any problems and he continued to be busy with his roles as the distinguished lead. The Big House (1930) was highly successful for MGM and he appeared in other popular movies such as The Phantom of Paris (1931) with John Gilbert and Red-Headed Woman (1932) with Jean Harlow. He appeared with Garbo in Inspiration (1931), Mata Hari (1931), Grand Hotel (1932) and Queen Christina (1933). In the late 30s he took on a role for which he was long remembered - the role of Judge James Hardy who had a son named Andy. Judge Hardy was the father audiences wanted in the late 30s early 40s. He was kind, intellectual, fair and as patient as he had to be with Andy, played by Mickey Rooney. This series occupied most of his screen time until it ended and he did slow down during the late 40s. In the 50s he continued to appear in a number of pictures including remakes of the two he had made 30 years before with Alice Terry. He suffered a heart attack and died in 1953 after appearing in over 200 films.

Victor Sjöström was born on September 20, 1879, and is the undisputed father of Swedish film, ranking as one of the masters of world cinema. His influence lives on in the work of Ingmar Bergman and all those directors, both Swedish and international, influenced by his work and the works of directors whom he himself influenced.

As a boy Sjöström was close to his mother, who died during childbirth when he was seven years old. Biographers see this truncated relationship as being essential to the evolution of his dramatic trope of strong-willed, independent women in his films. He was masterful at eliciting sensitive performances from actresses, such as that of Lillian Gish in his American classic The Wind (1928).

The teenaged Sjöström loved the theater, but after his education he turned to business, becoming a donut salesman. Fortunately for the future of Swedish cinema, he was a flop as a salesman, and turned to the theater, becoming an actor and then director. The Swedish film company Svenska Bio hired him and fellow stage director Mauritz Stiller to helm pictures, and from 1912-15 he directed 31 films. Only three of them survive (it is estimated that approximately 150,000 films, or 80% of the total silent-era production, has been lost). He directed Ingeborg Holm (1913), considered the first classic of Swedish cinema.

Despite the exigencies of working in an industrial art form, most Svenska Bio films of this period are embarrassments in an artistic sense--turgid melodramas, absurd romances and shaggy dog-style comedies--and there is no reason to think that the director didn't helm his share of such fare. Even taking that into account, Sjöström managed to develop a personal style. The reason he became internationally famous (and wooed by Hollywood) was the richness of his films, which were full of psychological subtleties and natural symbolism that was integrated into the works as a whole. He dealt with such major themes as guilt, redemption and the rapidly evolving place of women in society.

His 1920 film The Phantom Carriage (1921) (a.k.a. "Thy Soul Shall Bear Witness") was an internationally acclaimed masterpiece, and Goldwyn Pictures hired him to direct Name the Man! (1924) (Goldwayn was folded into Metro-Goldwyn-Mayer in 1924, where he worked until shortly after the advent of sound). Sjöström's name was changed to "Victor Seastrom" (a phonetic pronunciation in a country with limited word fonts), and he became a major American director, a pro-to David Lean, who was renowned for balancing artistic expression with a concern for what would play at the box office. His first MGM film was the Lon Chaney melodrama He Who Gets Slapped (1924). It was not only a critical success but a huge hit, getting the new studio off onto a sound footing.

He was highly respected by MGM chief Louis B. Mayer and by production head Irving Thalberg, who shared Sjöström's concerns with art that did not exclude profit. Sjöström became one of the most highly paid directors in Hollywood, reaching his peak at the end of the silent era (when the silent film reached its maturation as an art form) with two collaborations with Lillian Gish: The Scarlet Letter (1926) and "The Wind" (1926), his last masterpiece.

He departed Hollywood for Sweden after A Lady to Love (1930), returning one last time to helm Under the Red Robe (1937) for 20th Century-Fox, and although he made two movies in Sweden in the intervening years, his career as a director basically ended with the sound era. He returned to his first avocation, acting in Swedish films, in the 1930s, '40s and '50s. In his later years he was a mentor to Ingmar Bergman and gave a remarkable performance in Bergman's masterpiece "Wild Strawberries" (1957), for which he won the National Board of Review's Best Actor Award. In his professional life he was a workaholic, and in his private life was reticent about his films and his fame and remained intensely devoted to his wife Edith Erastoff and his family.

Victor Sjöström died on January 3, 1960, at the age of 80.

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

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

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

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

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

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

Stanislaus Zbyszko was born on 1 April 1879 in Jodlowa, Galicia, Austria-Hungary [now Jodlowa, Podkarpackie, Poland]. He was an actor, known for Night and the City (1950), Madison Square Garden (1932) and Gotch-Zbyszko World's Championship Wrestling Match (1910). He was married to Anna. He died on 23 September 1967 in St. Joseph, Missouri, USA.

Laura Hope Crews was born on 12 December 1879 in San Francisco, California, USA. She was an actress, known for Gone with the Wind (1939), The Silver Cord (1933) and Camille (1936). She died on 13 November 1942 in New York City, New York, USA.

Mary Young was born on 21 June 1879 in New York City, New York, USA. She was an actress, known for The Lost Weekend (1945), Alias Jesse James (1959) and The Stork Club (1945). She was married to John Craig. She died on 23 June 1971 in La Jolla, California, USA.

Anna Chance was born on 25 October 1879 in Oxford, Maryland, USA. She was an actress, known for Second Choice (1930), Chimmie Hicks and the Rum Omelet (1900) and Ladies' Choice (1929). She was married to Charley Grapewin. She died on 11 September 1943 in Hollywood, California, USA.

This elegant actor of the golden age of German cinema appeared in several masterpieces, before the cameras of such inspired geniuses as Lang, Lubitsch and Murnau. Vocation had come rather late in his life, though. Abel was indeed already 33 when he made his first film. Beforehand, he had been a forester, a gardener and a shopkeeper. But one day, while watching a film with Asta Nielsen, he was struck by revelation. He decided at once to become an actor and with the help of Nielsen in person he started a fruitful screen career. He also wrote and directed a few films. He died too soon aged only 57, but having honored the German screen with his noble, dignified figure in more than a hundred pictures.

British-born American character actor. He labored in a San Francisco glass factory until his thirties, then embarked on an acting career. He became a respected teacher, director, and performer at famed Pasadena Community Playhouse in California. He appeared in numerous films in the Thirties and Forties, his craggy face enlivening many movies. Several of his children had effective careers in front of or behind the camera.

Margaret Halstan was born on 25 December 1879 in London, England, UK. She was an actress, known for The Holly and the Ivy (1952), The Middle Watch (1930) and London Playhouse (1955). She was married to John Hartman Morgan. She died on 8 January 1967 in Hornchurch, England, UK.