Over the course of a five-decade career, she starred in nearly 150 films. She is a three-time César Award winner (1977, 1996, 2002), a two-time Molière Award winner, a BAFTA nominee, and a recipient of several international prizes including the Volpi Cup (Best actress) at the 1965 Venice Film Festival for Three Rooms in Manhattan.

Born in 1931, she was raised by her single mother, a midwife from Normandy. After studying to become a midwife like her mother, she enrolled at the prestigious Conservatoire de la rue Blanche in Paris. After graduating in 1954 with the "First Prize in Modern and Classical Comedy", she joined the Comédie Française, where she was a resident actor from 1954-57.

In 1955, she began her film career, making her film debut in Treize à table (1955), but it was with theatre that she started to attract the attention of critics. Her performance in Jean Cocteau's play La Machine à écrire in 1956 was admired by the author who called her "The finest dramatic temperament of the Postwar period"

In 1956 she was awarded the Prix Suzanne Bianchetti as best up-and-coming young actress but only with Luchino Visconti's epic Rocco and His Brothers (1960), she was able to draw the public's attention to her. In 1962, she married Italian actor Renato Salvatori. Travelling back and forth between two film careers in France and Italy, Girardot also worked with renown Italian directors, including Marco Ferreri in the scandalous The Ape Woman (1964).

Famously ignored by French New Wave directors (with the exception of Claude Lelouch), Girardot found her glory in popular cinema alongside more established and traditional directors such as Jean Delannoy, Michel Boisrond, André Cayatte, Gilles Grangier, or André Hunebelle.

By the end of the 1960s, she had become a movie star and a box-office magnet in France with such films as Vice and Virtue (1963); Live for Life (1967); Love Is a Funny Thing (1969); and Death of Love (1970), the fact-based tale of a middle-aged teacher whose affair with a much younger student made her the object of bourgeoisie ridicule. The film was nominated for a Golden Globe, and remains Girardot's biggest box office hit in France.

Throughout the 1970s, Girardot came back and forth between drama and comedy, proving herself an adept comedienne in such successful comedies as Claude Zidi's La zizanie (1978), Michel Audiard's _Elle boit pas, elle fume pas, elle drague pas, mais... elle cause! (1970)_ and Philippe de Broca's Dear Inspector (1977). She also played the mother of upcoming stars like Isabelle Adjani in the hit teen movie The Slap (1974), and Isabelle Huppert in the drama Docteur Françoise Gailland (1976).

The 1980s were less kind, as her film career floundered and parts dwindled. However, Girardot had a major comeback on the big screen playing a peasant wife in Claude Lelouch's Les Misérables (1995).

Kay Kendall was born on 21 May 1927 in Withernsea, Yorkshire, England, UK. She was an actress, known for Les Girls (1957), The Reluctant Debutante (1958) and Simon and Laura (1955). She was married to Rex Harrison. She died on 6 September 1959 in London, England, UK.

Lucia Bosè was born on 28 January 1931 in Milan, Lombardy, Italy. She was an actress, known for The Lady Without Camelias (1953), Death of a Cyclist (1955) and Story of a Love Affair (1950). She was married to Luis Miguel Dominguín. She died on 23 March 2020 in Segovia, Segovia, Castilla y León, Spain.

Joan Greenwood, of the plummy feline voice, was born in the well-to-do London district of Chelsea, the daughter of renowned portrait painter Sydney Earnshaw Greenwood (1887-1949). Dancing from the age of eight, she took ballet lessons and later enrolled at the Royal Academy of Dramatic Art (RADA). Graduating at age 18, Joan made her theatrical debut in Molière's "Malade Imaginaire" at the Apollo Theatre. Performing some time later in Clare Boothe Luce's "The Women", she was noticed by Leslie Howard, who cast the diminutive lass as his leading lady in his wartime flag waver The Gentle Sex (1943). From this time onward, Joan began to alternate between stage and screen, comedy and drama. She worked during the London Blitz and toured with the Entertainment National Service Association (ENSA).

The theatre saw her in classical plays with the Donald Wolfit Company, ranging from George Bernard Shaw's "Heartbreak House" to William Shakespeare's "Hamlet" (as Ophelia), and Henrik Ibsen's "Hedda Gabler". On screen she gave a strong, sensitive performance in Eric Ambler's psychological thriller The October Man (1947). She was also effectively cast opposite Stewart Granger as the fragile, conflicted Sophie Dorothea, imprisoned in a loveless marriage, in Basil Dearden's period romance Saraband (1948). Above all, she is fondly remembered for a trio of classic Ealing comedies, conveying a measure of eroticism while remaining quintessentially "correct" and "properly British". She purred her way through Kind Hearts and Coronets (1949) (as the beguiling, but manipulative Sibella) and as Scottish Peggy Macroon she taunted straight-laced Basil Radford in Whisky Galore! (1949). She was Lady Caroline Lamb in The Bad Lord Byron (1949) and she dutifully undermined idealistic, naive inventor Sidney Stratton (Alec Guinness) in The Man in the White Suit (1951).

In between her two other major screen roles--Gwendolen Fairfax in The Importance of Being Earnest (1952) and lascivious Lady Bellaston in Tom Jones (1963)--Joan had a brief spell in Hollywood, paired again with Stewart Granger for Fritz Lang's gothic period melodrama Moonfleet (1955). She did not enjoy the experience. Eschewing the trimmings of Hollywood stardom, she opted instead for the uncomplicated life at Ealing, where actors "washed their hair in buckets" and lived on "toasted sandwiches, chocolates and soup".

Joan Greenwood died following a period of ill health on February 28, 1987, less than a week before her 66th birthday.

A student of Northern Illinois University, Carrie switched to drama at Chicago's Goodman Theatre School where she won the Sarah Siddons Award as outstanding graduate. After graduating, Carrie worked in TV and also appeared in TV movies. She made her big screen debut in Rabbit, Run (1970), working with James Caan. Her next movie was Diary of a Mad Housewife (1970) for which her role as Tina Balser gave her an Academy Award nomination. With similar Golden Globe nominations, Carrie was on the brink of stardom when she left it all to live with rock musician Neil Young, the father of her son, Zeke. It would be almost 8 years before she returned to the screen as a supporting actor in Brian De Palma's The Fury (1978). After a few more films, Carrie debuted on Broadway in the 1981 play "A Coupla White Chicks Sitting Around Talking." She continued making movies in the 1980s, some of which were good; others were not. In the '90s, most of Carrie's supporting actor roles are being filmed for television. One of the big screen films which she made was the critically acclaimed Blue Sky (1994), which was released years after being shot,and gave Jessica Lange an Oscar. Carrie also turned up on series television in The X-Files (1993) and Murder, She Wrote (1984).

Jo Van Fleet was born on December 29, 1915 in Oakland, California. She established herself as a notable dramatic actress on Broadway over several years, winning a Tony Award in 1954 for her skill in a difficult role, playing an unsympathetic, even abusive character, in Horton Foote's "The Trip to Bountiful" with Lillian Gish and Eva Marie Saint. Her first film role was playing the estranged mother of James Dean's character in East of Eden (1955). This debut performance earned Van Fleet an Academy Award for Best Supporting Actress. Her subsequent film work was steady through 1960, then very sporadic, and include such films as The Rose Tattoo (1955), I'll Cry Tomorrow (1955), The King and Four Queens (1956), Gunfight at the O.K. Corral (1957) and Cool Hand Luke (1967).

In 1958, Van Fleet was nominated for a Tony Award for Best Performance by a Leading Actress in a Play for her performance in "Look Homeward, Angel" on Broadway. Other films include Wild River (1960), Rodgers and Hammerstein's Cinderella (1965) and I Love You, Alice B. Toklas! (1968). Her television work include Alfred Hitchcock Presents (1955), Bonanza (1959), Thriller (1960) and The Wild Wild West (1965).

Jo Van Fleet died at age 80 of undisclosed causes on June 10, 1996 in Queens, New York City.

Ingrid trained as a ballet dancer and attended Stockholm's Royal Dramatic Theatre. She came to fame thanks to Bergman's "Wild Strawberries". She acted in 9 Ingmar Bergman's films. Her fame allowed her to act in Luchino Visconti's "The Damned" in 1969. Ingrid Thulin lived in Rome since the 1960's. She came back to Sweden for her health treatment recently.

African American actress Juanita Moore entered films in the early 1950s, a time in which few black people were given an opportunity to act in major studio films. Fortunately Moore's roles began improving as Hollywood developed a social consciousness toward the end of the decade. In 1959 she received an Academy Award nomination for her performance in Imitation of Life (1959), a glossy updating of a once controversial Fannie Hurst novel about racism. Within the next decade Hollywood underwent several sociological upheavals, and Juanita was one of the beneficiaries. She became a fixture in black-oriented films of the 1960s and 1970s, appearing in such films as Uptight (1968), Thomasine & Bushrod (1974) and Abby (1974). She also appeared in Walt Disney Pictures' The Kid (2000), and was in a total of more than 50 films. Moore retired in 2001 and passed away New Year's Day 2014 . She was 99.

Joan Hackett was never one of your conventional leading ladies. Directors sometimes found her difficult to work with. Yet this strong-minded perfectionist had an unquenchable individuality that came through in her performances, and she never hesitated to appear unglamorous whenever the role demanded. Born of an Italian mother and an Irish-American father in East Harlem on March 1, 1934, teenage Joan left school during twelfth grade to become a model. On the cover of Harper's Junior Bazaar in 1952, the attractive brunette turned down the resulting offer of a contract with 20th Century-Fox and opted instead for acting classes at Lee Strasberg's Actors Studio.

Joan made her Broadway debut in the John Gielgud production of "Much Ado About Nothing" in 1959 and also appeared in her first television episode that year. In 1961, she had her first success in an off-Broadway play, "Call Me By My Rightful Name", winning three awards, including an Obie. A later stage performance, "Night Watch" (1972), based on a play by Lucille Fletcher, saw her playing an emotionally disturbed woman with such intensity that Clive Barnes of The New York Times described her performance as "beautifully judged". From 1961 to 1962, Joan had regular work in the CBS courtroom drama series The Defenders (1961) (starring E.G. Marshall), playing social worker "Joan Miller", fiance of one of the partners in the law firm. During the remainder of the decade, she guest-starred in many top-rated TV shows, from The Twilight Zone (1959) to Bonanza (1959) and Ben Casey (1961) (an Emmy-nominated performance). She also played the second "Mrs. de Winter" in a television version of Daphne Du Maurier's classic "Rebecca".

Joan's off-beat personality likely limited her career in films. She was first featured as one of eight Vassar graduates making up The Group (1966), a 150-minute Sidney Lumet-directed part-satire, part-soap-opera film examining the lives and loves of the protagonists over the years. Her next motion pictures allowed Joan considerably more screen time: She co-starred with Charlton Heston in the moody, idiosyncratic western Will Penny (1967). She gave a decidedly understated, subtle performance as the down-to-earth frontier woman who befriends the hero, shares in his ordeals, and then is left by him when he realizes that there is no future in their relationship. In stark contrast was her role in the western comedy Support Your Local Sheriff! (1969). She was very much in her element as feisty, accident-prone mayor's daughter "Prudy Perkins". In this film, she displayed a talent for visual comedy reminiscent of Lucille Ball, but otherwise rarely seen since silent films. There was also great chemistry and clever verbal interaction between her and co-star James Garner, as the newly appointed sheriff who catches her character in various embarrassing situations.

She was also featured in the spy film Assignment to Kill (1968), followed by the predictable "Baby Jane" look-alike TV thriller How Awful About Allan (1970). Joan then gave assured performances in two subsequent thrillers, the stylish The Last of Sheila (1973) and the made-for-TV disguised remake of Diabolique (1955), Reflections of Murder (1974) with Sam Waterston. Joan gave a spectacular performance in the Michael Crichton book adaption of The Terminal Man (1974) where she plays a compassionate psychiatrist who is tormented by her patient. There were to be few roles of interest until Only When I Laugh (1981). The film, based on Neil Simon's play "The Gingerbread Lady", won Joan a Golden Globe Award and an Academy Award nomination as Best Supporting Actress. By that time, she was already so ill with cancer that she had to travel to the award ceremony in a wheelchair.

Joan Hackett was well known as a social activist, embracing solar energy and losing causes such as the preservation of the old Morosco Theatre in Times Square with equal fervor. According to personal friends, she accepted her fate with equanimity and dignity, dying at the age of just 49 in a hospital in Encino, California, in October 1983.

Maria Schell studied in a religious institution in Colmar (Haut-Rhin, France). She received a dramatic training in Zurich, Switzerland. To pay her studies, she was a secretary there. Besides being a film star; Maria appeared in plays in Zurich, Basel, in Vienna (Josefstad Theater), Berlin, Munich (Kammerspiel Theater), at the Salzburg Festival and went on provincial tours from 1963. Among the plays she performed there were such classics as William Shakespeare's "Hamlet", Johann Wolfgang von Goethe's "Faust" and such modern classics as "Pygmalion" by George Bernard Shaw.