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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."

Pauline Frederick was born Pauline Beatrice Libby in Boston, Massachusetts on August 12, 1883. She was fascinated with show business from an early age and throughout her childhood, she was bred for a career in music. It has been said she had a terrific soprano voice, but Pauline also dabbled a bit in acting. It was her acting ability that would make her famous. She starred in several stage productions with her manager, Benjamin Teal, guiding her every step of the way. Before long, Pauline was making a name for herself up and down the East Coast, especially in the hallowed halls of Broadway. The hard line critics raved of her appearances in productions such as "Samson" and "Joseph and His Brothers". Before long, it was recognized that a stage play with Pauline starring in it signified a top quality production. Pauline was at the pinnacle of her career, but with the fledgling film colony, then located in New York, it was only a matter of time before the movie moguls wooed her from the stage and into a film studio. They did. Pauline's first film on the silver screen was THE EMERALD CITY in 1915. She was 32, an age where most newcomers were much younger, but Pauline's reputation preceded her. Her name was a virtual drawing card for the flick and it turned out to be a success. Pauline was out of the gate and running. She had two other very successful films that year, BELLA DONNA and LYDIA GILMORE. The next two years saw Pauline in a number of high quality motion pictures. 1918 turned out to be a banner year for Pauline as her star power would shine bright with the critics and public alike in films such as FEDORA, RESURRECTION, and LA TOSCA. The latter film solidified Pauline's star power. In 1920, Pauline played Jacqueline Floriot in MADAME X in probably her greatest performance in her personal history. By now she had arrived in the new film colony of Hollywood, California to make films for Samuel Goldwyn. She quickly adapted to her new home. She began to pare back her film appearances, balancing her film work with continued acting on the stage in New York. But homesickness for her adopted home brought Pauline back to California and more starring roles. Because of her stage work and great screen presence, Pauline never had any trouble when movies switched from the silent era to sound. In 1932, Pauline she successfully played in WAYWARD with Nancy Carroll and Richard Arlen. Seven more sound films followed, each greeted with great success. Her final film was made in 1937 in THANK YOU, MR. MOTO. She may have continued to play on the big screen, after all she was only 54 years old. She had asthma which limited her activities somewhat. On September 19, 1938, Pauline died from that condition in Beverly Hills, California. She was just 55 years old.

Georges Méliès was a French illusionist and film director famous for leading many technical and narrative developments in the earliest days of cinema.

Méliès was an especially prolific innovator in the use of special effects, popularizing such techniques as substitution splices, multiple exposures, time-lapse photography, dissolves, and hand-painted color.

His films include A Trip to the Moon (1902) and An Impossible Voyage (1904), both involving strange, surreal journeys somewhat in the style of Jules Verne, and are considered among the most important early science fiction films.

Méliès died of cancer on 21 January 1938 at the age of 76.

In 2016, a Méliès film long thought lost, A Wager Between Two Magicians, or, Jealous of Myself (1904), was discovered in a Czechoslovak film archive.

Harry Myers was born on 5 September 1882 in New Haven, Connecticut, USA. He was an actor and director, known for City Lights (1931), The Catch of the Season (1914) and A Connecticut Yankee in King Arthur's Court (1921). He was married to Rosemary Theby and Nellie Campbell. He died on 25 December 1938 in Hollywood, Los Angeles, California, USA.

Florence Lawrence was the first film player whose name was used to promote her films and the studio (Independent Moving Pictures Company [IMP]) for which she worked. Before her, actors and actresses worked anonymously, partly out of fear that stage managers would refuse to hire them if they were found to be working in films and partly because movie executives didn't want to put much money into the production of these short, practically disposable films, and didn't want their players to become well known and start demanding higher salaries. Lawrence was on the stage from age three, appearing in musicals and plays, whistling and playing the violin. At 20 she was cast in the Edison production of Daniel Boone (1907), and that led to work at Vitagraph Studios. From there she was hired by Biograph, where she refined and perfected her craft under the direction of D.W. Griffith. In 1909 she left Biograph to seek more recognizable employment at another film company. As a result she was blacklisted by the Motion Picture Trust, headed by Thomas A. Edison, to which most motion-picture producers belonged and which held the patents on most film production equipment and would not allow any companies that did not belong to the Trust to use them. Carl Laemmle started IMP in late 1909, and refused to join the Motion Picture Trust. The Trust took action--both legal and otherwise--to discourage Laemmle from producing films on his own. Lawrence and her husband, director Harry Solter, signed on as IMP's first featured players. In 1910 Laemmle, partly out of anger over the Trust's actions--such as hiring thugs to attack his film crews and wreck his equipment--decided to advertise the fact that he had Miss Lawrence. She made the first personal appearance of a film star in St. Louis, MO, that March, and the resulting publicity made her famous (and also increased the grosses on her--and Laemmle's--films). Other film companies soon followed suit, and the names of film actors and actresses began to appear in all segments of the media. Lawrence worked for IMP for a year, then spent another year at Lubin before she began her own production company, Victor, where she worked on and off until 1914. After a stage accident in which she injured her back, she retired from films, only to be lured back in 1916 for her first feature, Elusive Isabel (1916). It was unsuccessful. She tried a comeback again in 1921; that, too, was unsuccessful. She settled into bit parts and character roles through the 1920s and 1930s. She committed suicide in 1938 after years of unhappiness and illness. She was found in her apartment on Dec. 27, 1938 and died soon afterward in hospital.

This West Point-educated actor was a tall, dark and handsome American co-star who romanced some of the most illustrious femme stars ever to appear on the silent silver screen. Conway Tearle was born in New York City on May 17, 1878 to a family of entertainers. Christened Frederick Conway Levy, his father, Jules, was a jazz musician, and mother Marianne Conway, an American actress. Divorced when Conway was quite young, his mother subsequently married British Shakespearean actor/theatre manager Osmond Tearle and Conway was raised in England from the age of 10.

Tearle gained experience on his stepfather's stage and was alternately billed as "Frederick Levy" and "Frederick Conway" before settling on the marquee name of Conway Tearle. Having returned to the U.S. in 1905, he made his Broadway debut with "Abigail" that same year and would make a name for himself as a reliable romancer for nearly a decade before attempting films in 1914. His two half brothers, Godfrey Tearle and Malcolm Tearle would also become actors on both the stage and screen.

Tearle's more famous films are deemed "women's pictures," where he appeared meticulously as a dashing hero or ardent lover. Among his more notable were Helene of the North (1915) opposite Marguerite Clark, The Foolish Virgin (1916) and The Common Law (1916) both starring Clara Kimball Young, Stella Maris (1918) with Mary Pickford, A Virtuous Vamp (1919) with Constance Talmadge, She Loves and Lies (1920) and The Eternal Flame (1922), both opposite Norma Talmadge, Lilies of the Field (1924) featuring Corinne Griffith, and Dancing Mothers (1926) starring Clara Bow. Conway made a smooth transition into sound pictures and remained a leading star or prime support in "B" level pictures.

Tearle ended his film career spurned by Mae West in Klondike Annie (1936) and with a lesser role in the lavish production Romeo and Juliet (1936) starring Norma Shearer and Leslie Howard. In 1937 he appeared in his final stage lead with the comedy "Hey, Diddle Diddle." Headed for a Broadway run, the show had to close early in Washington, D.C. because of Tearle's poor health. He died in Hollywood of a heart attack at age 60, on October 1, 1938.

Born on her father's farm in Green Ridge, Missouri, the youngest of five children. Moved with her family to Springfield, Missouri, where she grew up. Joined the Diemer Theatre Company during her second year of high school, and went on the road with a touring stock company at age 18, in 1907. Signed by the Powers Film Co. in New York in 1910, and proceeded to work thereafter for many companies in starring roles. In 1914, she starred in Pathe's The Perils of Pauline, the fifth serial chapter play ever made. She became an international star therein and was the leading heroine of serial films for the next several years. Following an unsuccessful attempt to achieve the same success in feature films, and with her health deteriorating, she retired in 1923, living in France until her death in 1938.

At the age of 7, his father died, leaving his mother and her six children in poverty, of the children, 4 died in early years. To earn some money to support the family, Robert took odd jobs, before becoming a jockey. This career ended when the horse, Pink Star, the future Kentucky Derby winner of 1907, fell and broke Robert's leg. Robert then went to work as bellboy at the Hotel Sinton in Cincinnati, Ohio, where he came in contact with actors who saw possibilities for him on the stage as comic. He joined several vaudeville companies, touring not only North America, but also the British Empire. Around 1917, he married an eccentric dancer. In 1922, he appeared with W.C. Fields in "The Blue Kitten", and also wrote plays. He hit it big, when he was signed for Florenz Ziegfeld Jr.'s "Rio Rita" in 1927, where he teamed up with Bert Wheeler. Both repeated their stage roles in RKO's filmed version of that musical. Due to their success, both were teamed up again for more pictures, a career that kept on until failing health made further work impossible. Although Variety suggested that both should try as singles, the movies they made apart weren't successful. He died on October 31, 1938 of kidney disease.

Robert Wiene was born on 24 April 1873 in Breslau, Silesia, Germany [now Wroclaw, Dolnoslaskie, Poland]. He was a writer and director, known for The Cabinet of Dr. Caligari (1920), Das wandernde Licht (1916) and L'autre (1930). He died on 17 July 1938 in Paris, France.

Konstantin Stanislavski was a wealthy Russian businessman turned director who founded the Moscow Art Theatre, and originated the Stanislavski's System of acting which was spread over the world by his students, such as Michael Chekhov, Aleksei Dikij, Stella Adler, Viktor Tourjansky, and Richard Boleslawski among many others.

He was born Konstantin Sergeevich Alekseev on January 5, 1863, in Moscow, Russia. His father, Sergei Alekseev, was a wealthy Russian merchant. His mother, Elisaveta Vasilevna (nee Yakovleva) was French-Russian and his grandmother was a notable actress in Paris. Young Stanislavski grew up in a bilingual environment. He was fond of theatre and arts, studied piano and singing, and performed amateur plays at home with his elder brother and two sisters. He studied business and languages at Lasarevsky Institute, the most prestigious private school in Moscow. He did not graduate, instead he continued self-education while traveling in several European countries and studying at libraries and museums. Eventually Stanislavski joined his father's company, became a successful businessman, and the head of his father's business, the Alekseev's factory and other assets. During the 1880s Stanislavski made a fortune in international business and trade, he was awarded the Gold Medal at the World's Fair in Paris. At the same time, he was an active patron of arts and theatre in Russia. In 1885 he studied acting and directing at the Maly Theatre in Moscow, and took a stage name Stanislavski. In 1888 he founded the "Society for Arts and Literature" in Moscow.

In 1898 Stanislavski together with his partner, Vladimir Nemirovich-Danchenko, founded the Moscow Art Theatre, which made a profound influence on theatrical art all over the world. They opened with staging of "Tsar Feodor" a play by Aleksei Tolstoy, then staged "The Seagull" written by Anton Chekhov specially for the Moscow Art Theatre. In 1900 Stanislavski brought the Moscow Art Theatre on tour in Sebastopol and Yalta in Crimea, where he invited then ailing Anton Chekhov to see several plays. Chekhov admired the company's stage production of his plays, and respected the theatrical achievements of Stanislavski and Vladimir Nemirovich-Danchenko. Chekhov's legendary collaboration with the Moscow Art Theatre was fruitful for both sides: it resulted in creation of such classics as 'The Seagull', 'Uncle Vanya', 'The Three Sisters', and 'The Cherry Orchard', the four big plays which remained in the repertoire ever since.

Stanislavski's system was developed through his own cross-cultural experience as actor, director, and businessman. He constantly updated his method through inter-disciplinary studies, absorbing from a range of sources and influences, such as the modernist developments, yoga and Pavlovian behaviorist psychology. He introduced group rehearsals and relaxation techniques to achieve better spiritual connections between actors. Pavlovian approach worked well by conditioning actors through discipline in longer, organized rehearsals, and using a thorough analysis of characters. Stanislavski himself was involved in a long and arduous practice making every actor better prepared for stage performance and eventually producing a less rigid acting style. In his own words, Stanislavski described his early approach as "Spiritual Realism." His actors worked hard to deliver perfectly believable performances, as none of his actors wanted to hear his famous verdict, "I don't believe."

As an actor, Stanislavski starred in several classical plays. His most notable stage performances, such as Othello in the Shakespeare's 'Othello', and as Gayev in Chekhov's 'The Cherry Orchard', were acclaimed by critics and loved by public. His own students said that Stanislavski was a very comfortable partner on stage, due to his highly professional and truthful acting. At the same time, he could be very demanding off stage, because of his high standards, especially during his lengthy and rigorous rehearsals, requiring nothing less but the full devotion from each actor of his company, the Moscow Art Theatre.

After the Russian Revolution of 1917, his factory and all other business property was nationalized by the Soviet Communists, but he was allowed to own his mansion in Moscow. Stanislavski wisely let go of all his wealth and possessions and expressed himself in writing and directing. He remained the principal director of Moscow Art Theatre for the rest of his life. During the turbulent years before and after the Russian Revolution, and later in the 1920s and 30s, he witnessed bitter rivalry among his former students. Some actors emigrated from Russia, others fought for their share of success, and the Moscow Art Theatre was eventually divided into several companies.

In 1928 Stanislavski suffered from a heart attack. He then distanced himself from disputes and competition between his former students Michael Chekhov and Aleksei Dikij, whose individual ambitions resulted in further fragmentation of the original Moscow Art Theatre company. At the same time, his younger apprentice, Nikolay Khmelyov, remained loyal to the teacher, and eventually later filled the position held by Stanislavski at Moscow Art Theatre. However, his other students, such as Vsevolod Meyerhold and Yevgeni Vakhtangov founded their own theatre companies and continued using their versions of the Stanislavski's system. In the 1930s, Stanislavski together with Vladimir Nemirovich-Danchenko formed one more theatrical company in Moscow, the Musical Theatre of Stanislavski and Nemirovich-Danchenko.

Stanislavski was a proponent of democratic ideas, such as equal opportunity and equal value of every human being on the planet. At that time Stanislavski's nephew was arrested for political reasons, and died in the Gulag prison-camp. Stanislavsky was also under permanent surveillance, because his Moscow Art Theatre was frequently attended by Joseph Stalin and other Soviet strongmen. However, at that time Moscow Art Theatre became especially popular, because Russian intellectuals needed a cultural oasis to escape from the grim Soviet reality. Under Stanislavski the Moscow Art Theatre produced several brilliant plays by Mikhail A. Bulgakov, and also continued running such classics as 'The Seagull', 'The Cherry Orchard', 'The Lower Bottom' and other original productions of plays by Anton Chekhov and Maxim Gorky.

In his later years, Stanislavsky wrote a book titled "An Actor Prepares" which, in Charley Chaplin's words, ".. helps all people to reach out for big dramatic art. It tells what an actor needs to rouse the inspiration he requires for expressing profound emotions." Stanislavsky explained how actors may use his System, "Create your own method. Don't depend slavishly on mine. Make up something that will work for you! But keep braking traditions, I beg you!" And that was exactly what the best of his followers did. Stanislavski's ideas were used by many acting teachers, such as Michael Chekhov, Stella Adler, and Lee Strasberg, among others across the world.

During the 1930s Konstantin Stanislavski directed the original productions of several classic Russian plays, such as "Na Dne" (aka.. The Lower Depths) by Maxim Gorky, "Tsar Fedor Ioannovich" by A.K. Tolstoy, and other plays at the Moscow Art Theatre. After Stanislavski's death his original theatrical productions were adapted to black and white films, where Stanislavsky is credited as the original theatrical director. He died of a heart failure on August 7, 1938, in Moscow and was laid to rest in Novodevichy Cemetery in Moscow, Russia.

Stanislavski's mansion in central Moscow is now a public museum and research center displaying a collection of original stage sets and theatrical costumes. Stanislavski's personal library is also part of his museum. It has rare books that he collected in his numerous travels, as well as original manuscripts and letters by Stanislavski.

Mustafa was born in 1881 in Salonica, then an Ottoman Turkish city, in modern day Greece. His father, Ali Riza, a customs official-turned-lumber merchant, died when Mustafa was still a boy. His mother, Zubeyde, a devout and strong-willed woman, raised him and his younger sister by herself. First enrolled in a traditional Islamic religious school, he soon switched to a modern school. In 1893, he entered a military high school where his mathematics teacher gave him the second name Kemal (meaning perfection in Turkish) in recognition of young Mustafa's superior achievement. He was thereafter known as Mustafa Kemal.

In 1905, Mustafa Kemal graduated from the War Academy in Istanbul with the rank of Staff Captain. Posted in Damascus, Syria, then a part of the Ottoman Empire, he started with several colleagues a clandestine society called "Homeland and Freedom" to fight against the Sultan's despotism. In 1908, he helped the group of officers who toppled the Sultan. Mustafa Kemal's career flourished as he won his heroism in the far corners of the Ottoman Empire during the Italo-Turkish War of 1911-12 as well as the Balakan Wars of 1913 in which he saw action in Albania and Tripoli, Libya. He also briefly served as a staff officer in Salonica and Istanbul and as a military attache in Sofia, Bulgaria.

In October, 1914, the Ottoman Empire offically entered World War I alongside Germany and Austria as part of the Central Powers fighting the Allies of Great Britian, France, Italy and Russia. In 1915, when the Dardanelles/Galipoli campaign was launched, Mustafa Kemal, recently premoted to Colonel, became a national hero by winning successive victories against the landing British French and ANZAC armies, pinning them down at their beacheads, which finally forced the invaders to evacuate Galipoli in January 1916. Promoted to General later that year, at age 35, he liberated two major provinces in eastern Turkey against the Russian armies. In the next two years, from 1917 to 1918, he served as commander of several Ottoman armies in Palestine, Aleppo, and elsewhere, achieving another major victory by stopping the British advance at Aleppo just before the war-weary Turkish armies agreed to an armistice with the British on October 31, 1918 which ended World War I in the Middle East. As a result of the Ottoman Empire's defeat, the Turks lost all of their Middle East territories with the exception of the traditional Turkish area around the region of Asia Minor.

On May 19, 1919, Mustafa Kemal Pasha landed in the Black Sea port of Samsun to start the Greco-Turkish War, (known to the Turks as the War of Independence.) In defiance of the Sultan's government, he rallied a liberation army in Anatolia and convened the Congress of Erzurum and Sivas which established the basis for the new national effort under his leadership. On April 23, 1920, the Grand National Assembly was inaugurated. Mustafa Kemal Pasha was elected as its President. Fighting on many fronts, he led his forces to victory against rebels and the invading Greek armies. Following the Turkish triumph at the two major battles at Izunu in Western Turkey, the Grand National Assembly conferred on Mustafa Kemal Pasha the title of Commander-in-Chief with the rank of Marshal. At the end of August 1922, the Turkish armies won their ultimate victory. Within a few weeks, the Turkish mainland was completely liberated, an armistice with Greece was signed, and the rule of the Ottoman dynasty was abolished.

In July 1923, the national government signed the Lausanne Treaty with Great Britain, France, Greece, Italy, and others countries which regonized the new country of Turkey. In mid-October, Ankara became the capital of the new Turkish State. On October 29, the Republic was proclaimed and Mustafa Kemal Pasha was unanimously elected President of the Republic. Kemal married Latife Usakligil in early 1923. The marriage ended in divorce in 1925.

The account of Kemal Atatürk's fifteen year Presidency (1923-1938) is a saga of dramatic modernization. With indefatigable determination, he created a new political and legal system based on a Swiss Civil Code, abolished the Islamic Caliphate and made both government and education secular, gave equal rights to women, changed the Turkish language by transfering the written language from the Arabic script to the Roman alphabet, and the attire from Islamic to Western, and advanced the arts and the sciences, agriculture and industry.

In 1934, when the surname law was adopted, the national parliament gave him the name "Atatürk" (Turkish for Father of the Turks). A heavy drinker most of his life, Atatürk developed liver and kidney problems durng the last year of his life. He died on November 10, 1938, at age 57. The "national liberator" and the "Father of modern Turkey" was dead. But his legacy to his people and to the world endures to this very day.

Like Charles Chaplin's sidekick, Eric Campbell, Harold Lloyd needed his own giant when casting Why Worry? (1923) in 1922. Lloyd first had his eyes on George Auger (Cardiff Giant) who worked at Ringling Brothers sideshow as a giant. But Auger died before the film started, and a search went out for a replacement. The producer Hal Roach heard of a shoemaker who was constructing a pair of shoes for a "Norwegian living in Minnesota", and his name was John Aasen. His mother was Kristi Danielsen (b. 1868) from Numedal, Norway. She emigrated to the US via Liverpool during spring of 1887. It is not 100% certain who Aasen's father was, but while working in Eggedal, Norway, Kristi Danielsen met the Swedish Nils Jansson Bokke who reached a prominent 244 cm (8 ft) in height. It had to have been "The clash of the Titans" when the couple met, as Aasen's mother had her own merit with the height of 220 cm (7 ft 2½ in). But the passenger list on board D/S "Rollo" listed Kristi Danielsen as single. Later that year Aasen was born and it can only be speculated if his father was the Swede. Some sources lists him as 273 cm (nearly 9 ft) tall and with a weight of 251 kilos (553 lbs). Nearly 8 meters (8¾ yds) of material was needed to make him a suit. In other words; impressive! The annual Nummedalslagets yearbook of 1925 wrote: "Apparently the world's tallest human (in the civilized world) with a loving and sympathetic personality who always appears courteous and modest. In Harold Lloyd's film classic, Why Worry? (1923), Aasen plays "Colosso". He is suffering from a toothache and stuck in jail with other prisoners of a revolution in Chile. Lloyd is Harold von Pelham as the rich hypochondriac who ends up in the same prison as Colosso and cures his toothache. Forever grateful, Colosso aids van Palham in his adventures as escapees from the prison. With a cannon on his back and bullets hanging from his neck, the pair become an unusual couple who create comic mayhem. The film became one of the largest box-office attractions of 1923. Aasen was a great success in his first film and appeared in several others, but not with the same impact. It is said he mastered Norwegian fluently and for many years performed as a "Sideshow" attraction for C.A. Wortham Shows. He died on the 1st August 1938 in Mendocino, California.

Robert McWade was born on 25 January 1872 in Buffalo, New York, USA. He was an actor, known for The Kennel Murder Case (1933), The Dragon Murder Case (1934) and California Straight Ahead! (1937). He was married to Almina Lee. He died on 19 January 1938 in Culver City, California, USA.

Lyda's father was German clown Roberti, her mother a Polish trick rider. As a child performer, she toured Europe and Asia with the Circus in which she was born, leaving it (and her reportedly abusive father) in Shanghai, China. In this truly international city, Lyda became a child cafe entertainer and learned the fractured English that became her trademark. Around 1927, she emigrated to California, finding work in vaudeville, where she was "discovered" in 1930 by Broadway producer Lou Holtz and became an overnight star in his 1931 show 'You Said It'. Lyda's unforgettable stage and screen character was a sexy blonde whose charming accent and uninhibited man-chasing were played for hilarious laughs. From 1932-35 she made 8 comedy and musical films mainly at Paramount, with Fields, Cantor, and other great comedians; her unique singing style was also popular on the radio and records. Her health declining from premature heart disease, she briefly replaced the late Thelma Todd in Hal Roach comedy shorts with Patsy Kelly and appeared in 3 features for MGM and Columbia, then retired from film work a few months before her fatal heart attack at age 31.

Mathilde Comont was born on 9 September 1886 in Bordeaux, France. She was an actress, known for La Bohème (1926), Poor Little Rich Girl (1936) and Paris at Midnight (1926). She died on 21 June 1938 in Hollywood, California, USA.

Generally spoken of as Swedish theater's most legendary stage actor, Gösta Ekman enjoyed a prolific stage career during his short life, becoming the first real star of Swedish theater. His boyish good looks attracted both sexes, helping to create a massive cult following and elevating him to the status of a living legend. Combined with a beautiful voice and a powerful stage presence, Ekman was able to captivate his audiences.

Richard Cummings was born on 20 August 1858 in New Haven, Connecticut, USA. He was an actor, known for The Little Orphans (1915), The Bride's Play (1922) and A Ten-Cent Adventure (1915). He was married to Catherine ?. He died on 25 December 1938 in Los Angeles, California, USA.

Robert Johnson was born on 8 May 1911 in Hazlehurst, Mississippi, USA. He was a writer, known for The Skeleton Key (2005), Chocolat (2000) and Holes (2003). He was married to Calleta "Callie" Craft and Virginia Travis. He died on 13 August 1938 in Greenwood, Mississippi, USA.

Thelma Hill was born Thelma Floy Hillerman in Emporia, Kansas. Her family moved to Los Angeles, California during her early teen years. Living just blocks from the Mack Sennett studio, Thelma became one of the star struck, wide eyed girls who hung out near the studio peering through the gates. It took her five years, but eventually, using her womanly wiles, she weaseled her way through the gates and quickly caught the eye of Sennett himself and F. Richard "Dick" Jones, a producer and director who would work with Thelma in over a dozen films.

Thelma did bit parts and extra work throughout her school years, working weekends and during vacations. Because of her youth, beauty, and spunk, she quickly became "everybody's protégé."

When Mack Sennett revived his famous "Bathing Girls," Thelma the first to don the suit, as most of her parts up till then had been in bathing suits. In her first movie, "Picking Peaches," she had dived off a pier.

Because of her "mah jongg" bathing suit, she became quickly known as the "Mah Jongg Bathing Girl," although she'd already carried around a nickname since her first days on the set: "Pee-Wee," the little black-eyed youngster who grew up on the old lot.

As she matured she was hired to double for Mabel Normand, who, because of a roaring cocaine habit often showed up late for work or not at all. It was about this time that Thelma became a flapper; a style of women who were known for their androgynous bodies, flimsy and revealing clothing, and the traditional male behaviors smoking, heavy drinking, and casual sex. It was the drinking that eventually led to Thelma's downfall. Near the end of her first year in film, 1924, her big break came when she got the lead opposite Ralph Graves in the two reel comedy "Love's Sweet Piffle" directed by Edgar Kennedy.

Thelma was the first Sennett bathing beauty, and one of the few, to make it into feature films. She starred opposite Ben Turpin in "The Prodigal Bridegroom," and got one of the two female leads in the hilarious Laurel & Hardy "Two Tars" in 1928.

When Hollywood brought Jimmy Murphy's comic strip "Toots and Casper" to life on the big screen, Thelma got top billing opposite Bud Duncan as Casper, with Cullen Johnson as Buttercup and George Gray as Casper's boss. The series ran from 1927 through 1929.

One biographer wrote that she starred opposite a solo Stan Laurel (in "Pie-Eyed") but calling 24 seconds on the screen as a starring role seems a stretch.

Everyone in Hollywood knew Thelma was a real trooper with a knack for comedy. She willingly dropped her good looks to don thick black-rimmed glasses and a wild hairdo and work on two reel comedies rather than full length dramatic films. No part was too small for her. Later, during talkies, she played a bit part of a patient in the waiting room in W. C. Fields' "The Dentist." Today, all copies have been so cut up and repaired that her short scene has been lost.

She left Mack Sennett for a short stint with the Film Booking Offices of America (FBO) (also known as FBO Pictures Corporation) in 1927, and afterwards was signed by MGM to play a role in "The Fair Coed." It was about this time that she got engaged to St. Elmo Boyce, her director on the "Toots and Casper" shorts and a former Sennett cinematographer. Boyce and Hill both had drinking problems, Boyce having DUI arrests on his record. The relationship and Boyce's career began to fizzle and Boyce committed suicide in 1930 by poisoning. He'd just finished work on Columbia Pictures' most expensive film to date, "Dirigible."

Thelma Hill did not make the transition to talkies well. Her drinking and depression were starting to take their toll. She began working free lance for a variety of studios. She had made over 20 films in 1929, but with the advent of talkies and the end of frenetic slapstick comedy, she would work on just seven films over the next five years.

Her first sound film was "The Golfers" with the Sennett studios. Her next role was in a musical called "Two Plus Fours" featuring Bing Crosby as one of the Rhythm Boys. She took a small role in Frank Capra's drama, "The Miracle Woman," starring Barbara Stanwyck, a few more small, uncredited parts, one short educational film starring a very, very young Shirley Temple, and ended her career in 1934 at "The Lot of Fun," Hal Roach Studios, in the movie "Mixed Nuts." Her role was small, but unforgettable as she becomes the target of a professor of entomology's Arabian Sand Fleas.

She married John Sinclair (I), W. C. Fields' stunt double and gag writer, and settled into the role of housewife less than ten minutes away from the original Mack Sennett studios.

Whether fueled by her depression or her husband's hanging around with W. C. Fields, famous for his drinking, Thelma drank away her health and youth and died before her thirty-second birthday in 1938.

Biographers mistakenly attribute her cause of death to acute alcohol poisoning (erroneously reported as a "stomach ailment" in her obituary), but records show she had spent the last month of her life at the Edward Merrill Sanitarium (mistakenly listed in Culver City; actually in Venice, CA). She had been diagnosed with chronic alcoholism in 1932 and with pellagra (a B-vitamin deficiency, specifically niacin, often found in alcoholics) in 1937. The effects of malnutrition caused by alcoholism affect all organs in the body, and her official cause of death following an autopsy was cerebral hemorrhage.

Her body was cremated and the ashes were interred at Forest Lawn Memorial Park.

E.C. Segar was born on 8 December 1894 in Chester, Illinois, USA. He was a writer, known for Popeye (1980), Popeye and Untitled Popeye Live-action movie. He was married to Myrtle Annie Johnson. He died on 13 October 1938 in Santa Monica, California, USA.

Al Ernest Garcia was born on 11 March 1887 in San Francisco, California, USA. He was an actor and casting director, known for Modern Times (1936), The Circus (1928) and City Lights (1931). He was married to Ruth Garcia. He died on 4 September 1938 in Los Angeles, California, USA.

The director and screenwriter Sadao Yamanaka (1909-1938) is a key figure in the development of early Japanese cinema. Although he made 27 films over a six-year period, only three of them survived in nearly complete form: Sazen Tange and the Pot Worth a Million Ryo (1935), Humanity and Paper Balloons (1937), and Priest of Darkness (1936). These films represent the diversity of genres and elegant visual style Yamanaka chose. Moreover, he contributed to the establishment of the jidaigeki genre, or historical drama. After being drafted into the Imperial Japanese Army, Yamanaka tragically died of dysentery on the front in Manchuria aged 28.

Entering the film industry almost at its beginning, Oscar Apfel began his career in 1911 as a director. He hit the big leagues in 1914 when he was given many prestigious assignments for Paramount Pictures, often in collaboration with Cecil B. DeMille. In 1916, he switched to Fox, and then freelanced for many smaller studios. His directing career began to fizzle out in the 1920s, and he wound up churning out low-budget features for minor studios. He retired from directing in 1927 and began a new career as a character actor, often cast as a senior government official, banker, businessman or other type of authority figure.

Born in Chicago in 1885, silent screen actress Myrtle Stedman's (née Lincoln) musical talents developed quite early, finding herself on stage at age 12 singing light opera in the chorus. She had progressed to singing leads in shows by the time she decided to abandon her music career altogether for the movies.

She and actor-husband Marshall Stedman were signed by the Selig Polyscope Co. in 1911 and Myrtle's first credit was The Two Orphans (1911), a three-reeler. She was often directed or paired up with Marshall during those early years, but Myrtle was the one who stood out with moviegoers. Known as "the girl with the pearly eyes," she was not only an adorably enchanting and enigmatic presence in film drama, her athletic abilities also complemented westerns and action adventures.

She moved to the Bosworth Company in 1914 and appeared in such noteworthy silents as The Country Mouse (1914), Jane (1915), Peer Gynt (1915), and, most notably, the classic Hypocrites (1915), the last helmed by pioneer lady director Lois Weber. She increased her reputation as a fine actress with The American Beauty (1916), As Men Love (1917), In the Hollow of Her Hand (1918) and The Teeth of the Tiger (1919). Her son, Lincoln Stedman, made his debut as a juvenile player about this time. She and her husband divorced in 1919.

Following her rich roles in Reckless Youth (1922) and The Famous Mrs. Fair (1923), which was considered one of her finest, her star began to fade and she began to support other stars such as Colleen Moore in Flaming Youth (1923); May McAvoy in Tessie (1925); and Mary Astor in No Place to Go (1927).

Come the advent of sound, Myrtle seemed to move with ease into matronly secondary roles in such films as The Jazz Age (1929), Little Accident (1930), Beau Ideal (1931), Klondike (1932) and The Widow in Scarlet (1932), but by 1933, she had regressed to unbilled roles and pretty much stayed in that capacity up until the time of her death. Myrtle suffered a heart attack in late 1937 and declined quickly, dying on January 8, 1938 at age 52. Her ex-husband died in 1943 and her son, Lincoln, died in 1948.

Sarat Chandra Chattopadhyay was born on 15 September 1876 in Debanandapur, Hooghly, Bengal Presidency, British India. Sarat Chandra was a writer, known for Devdas (2002), Dev.D (2009) and Swami (1977). Sarat Chandra died on 16 January 1938 in Calcutta, Bengal Presidency, British India.