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Roger Moore will perhaps always be remembered as the man who replaced Sean Connery in the James Bond series, arguably something he never lived down.

Roger George Moore was born on October 14, 1927 in Stockwell, London, England, the son of Lillian (Pope) and George Alfred Moore, a policeman. His mother was born in Calcutta, India, to a British family. Roger first wanted to be an artist, but got into films full time after becoming an extra in the late 1940s. He came to the United States in 1953. Suave, extremely handsome, and an excellent actor, he received a contract with Metro-Goldwyn-Mayer. His initial foray met with mixed success, with movies like Diane (1956) and Interrupted Melody (1955), as well as The Last Time I Saw Paris (1954).

Moore went into television in the 1950s on series such as Ivanhoe (1958) and The Alaskans (1959), but probably received the most recognition from Maverick (1957), as cousin Beau. He received his big breakthrough, at least internationally, as The Saint (1962). The series made him a superstar and he became very successful thereafter. Moore ended his run as the Saint, and was one of the premier stars of the world, but he was not catching on in America. In an attempt to change this, he agreed to star with Tony Curtis on ITC's The Persuaders! (1971), but although hugely popular in Europe, it did not catch on in the United States and was canceled. Just prior to making the series, he starred in The Man Who Haunted Himself (1970), which proved there was far more to Moore than the light-hearted roles he had previously accepted.

He was next offered and accepted the role of James Bond, and once audiences got used to the change of style from Connery's portrayal, they also accepted him. Live and Let Die (1973), his first Bond movie, grossed more outside of America than Diamonds Are Forever (1971); Connery's last outing as James Bond. He went on to star in another six Bond films, before bowing out after A View to a Kill (1985). He was age 57 at the time the film was made and was looking a little too old for Bond - it was possibly one film too many. In between times, there had been more success with appearances in films such as That Lucky Touch (1975), Shout at the Devil (1976), The Wild Geese (1978), Escape to Athena (1979) and North Sea Hijack (1980).

Despite his fame from the Bond films and many others, the United States never completely took to him until he starred in The Cannonball Run (1981) alongside Burt Reynolds, a success there. After relinquishing his role as Bond, his work load tended to diminish a little, though he did star in the American box office flop Feuer, Eis & Dynamit (1990), as well as the comedy Bullseye! (1990), with Michael Caine. He did the overlooked comedy Bed & Breakfast (1991), as well as the television movie The Man Who Wouldn't Die (1994), and then the major Jean-Claude Van Damme flop The Quest (1996). Moore then took second rate roles such as Spice World (1997), and the American television series The Dream Team (1999). Although his film work slowed down, he was still in the public eye, be it appearing on television chat shows or hosting documentaries.

Roger Moore was appointed Commander of the Order of the British Empire on December 31, 1998 in the New Years Honours for services to UNICEF, and was promoted to Knight Commander of the same order on June 14, 2003 in the Queen's Birthday Honours for services to the charities UNICEF and Kiwanis International.

Roger Moore died of cancer on 23 May, 2017, in Switzerland. He was 89.

Audrey Hepburn was born as Audrey Kathleen Ruston on May 4, 1929 in Ixelles, Brussels, Belgium. Her mother, Baroness Ella Van Heemstra, was a Dutch noblewoman. Her father, Joseph Victor Anthony Ruston, was a businessman and Honorary British Consul in the Dutch East Indies; he was born in Úzice, Bohemia, of English, Austrian, and Czech-Jewish descent.

After her parents' divorce, Audrey went to London with her mother where she went to a private girls school. Later, when her mother moved back to the Netherlands, she attended private schools as well. While she vacationed with her mother in Arnhem, Netherlands, Hitler's army took over the town. It was here that she fell on hard times during the Nazi occupation. Audrey suffered from depression and malnutrition.

After the liberation, she went to a ballet school in London on a scholarship and later began a modeling career. As a model, she was graceful and, it seemed, she had found her niche in life--until the film producers came calling. In 1948, after being spotted modeling by a producer, she was signed to a bit part in the European film Nederlands in zeven lessen (1948). Later, she had a speaking role in the 1951 film, Young Wives' Tale (1951) as Eve Lester. The part still wasn't much, so she headed to America to try her luck there. Audrey gained immediate prominence in the US with her role in Roman Holiday (1953). This film turned out to be a smashing success, and she won an Oscar as Best Actress.

On September 25, 1954, she married actor Mel Ferrer. She also starred in Sabrina (1954), for which she received another Academy Award nomination. She starred in the films Funny Face (1957) and Love in the Afternoon (1957). She received yet another Academy Award nomination for her role in The Nun's Story (1959). On July 17, 1960, she gave birth to her first son, Sean Hepburn Ferrer.

Audrey reached the pinnacle of her career when she played Holly Golightly in Breakfast at Tiffany's (1961), for which she received another Oscar nomination. She scored commercial success again playing Regina Lampert in the espionage caper Charade (1963). One of Audrey's most radiant roles was in the fine production of My Fair Lady (1964). After a couple of other movies, most notably Two for the Road (1967), she hit pay dirt and another nomination in Wait Until Dark (1967).

In 1967, Audrey decided to retire from acting while she was on top. She divorced from Mel Ferrer in 1968. On January 19, 1969, she married Dr. Andrea Dotti. On February 8, 1970, she gave birth to her second son, Luca Dotti in Lausanne, Vaud, Switzerland. From time to time, she would appear on the silver screen.

In 1988, she became a special ambassador to the United Nations UNICEF fund helping children in Latin America and Africa, a position she retained until 1993. She was named to People's magazine as one of the 50 most beautiful people in the world. Her last film was Always (1989).

Audrey Hepburn died, aged 63, on January 20, 1993 in Tolochnaz, Vaud, Switzerland, from appendicular cancer. She had made a total of 31 high quality movies. Her elegance and style will always be remembered in film history as evidenced by her being named in Empire magazine's "The Top 100 Movie Stars of All Time".

Considered to be one of the most pivotal stars of the early days of Hollywood, Charlie Chaplin lived an interesting life both in his films and behind the camera. He is most recognized as an icon of the silent film era, often associated with his popular character, the Little Tramp; the man with the toothbrush mustache, bowler hat, bamboo cane, and a funny walk.

Charles Spencer Chaplin was born in Walworth, London, England on April 16, 1889, to Hannah Harriet Pedlingham (Hill) and Charles Chaplin, both music hall performers, who were married on June 22, 1885. After Charles Sr. separated from Hannah to perform in New York City, Hannah then tried to resurrect her stage career. Unfortunately, her singing voice had a tendency to break at unexpected moments. When this happened, the stage manager spotted young Charlie standing in the wings and led him on stage, where five-year-old Charlie began to sing a popular tune. Charlie and his half-brother, Syd Chaplin spent their lives in and out of charity homes and workhouses between their mother's bouts of insanity. Hannah was committed to Cane Hill Asylum in May 1903 and lived there until 1921, when Chaplin moved her to California.

Chaplin began his official acting career at the age of eight, touring with the Eight Lancashire Lads. At age 18, he began touring with Fred Karno's vaudeville troupe, joining them on the troupe's 1910 United States tour. He traveled west to California in December 1913 and signed on with Keystone Studios' popular comedy director Mack Sennett, who had seen Chaplin perform on stage in New York. Charlie soon wrote his brother Syd, asking him to become his manager. While at Keystone, Chaplin appeared in and directed 35 films, starring as the Little Tramp in nearly all.

In November 1914, he left Keystone and signed on at Essanay, where he made 15 films. In 1916, he signed on at Mutual and made 12 films. In June 1917, Chaplin signed up with First National Studios, after which he built Chaplin Studios. In 1919, he and Douglas Fairbanks, Mary Pickford and D.W. Griffith formed United Artists (UA).

Chaplin's life and career was full of scandal and controversy. His first big scandal was during World War I, at which time his loyalty to England, his home country, was questioned. He had never applied for American citizenship, but claimed that he was a "paying visitor" to the United States. Many British citizens called Chaplin a coward and a slacker. This and other career eccentricities sparked suspicion with FBI chief J. Edgar Hoover and the House Un-American Activities Committee (HUAC), who believed that he was injecting Communist propaganda into his films. Chaplin's later film The Great Dictator (1940), which was his first "talkie", also created a stir. In the film, Chaplin plays a humorous caricature of Adolf Hitler. Some thought the film was poorly done and in bad taste. However, the film grossed over $5 million and earned five Academy Award Nominations.

Another scandal occurred when Chaplin briefly dated 22 year-old Joan Barry. However, Chaplin's relationship with Barry came to an end in 1942, after a series of harassing actions from her. In May 1943, Barry returned to inform Chaplin that she was pregnant and filed a paternity suit, claiming that the unborn child was his. During the 1944 trial, blood tests proved that Chaplin was not the father, but at the time, blood tests were inadmissible evidence, and he was ordered to pay $75 a week until the child turned 21.

Chaplin also was scrutinized for his support in aiding the Russian struggle against the invading Nazis during World War II, and the United States government questioned his moral and political views, suspecting him of having Communist ties. For this reason, HUAC subpoenaed him in 1947. However, HUAC finally decided that it was no longer necessary for him to appear for testimony. Conversely, when Chaplin and his family traveled to London for the premier of Limelight (1952), he was denied re-entry to the United States. In reality, the government had almost no evidence to prove that he was a threat to national security. Instead, he and his wife decided to settle in Switzerland.

Chaplin was married four times and had a total of 11 children. In 1918, he married Mildred Harris and they had a son together, Norman Spencer Chaplin, who lived only three days. Chaplin and Harris divorced in 1920. He married Lita Grey in 1924, who had two sons, Charles Chaplin Jr. and Sydney Chaplin. They were divorced in 1927. In 1936, Chaplin married Paulette Goddard, and his final marriage was to Oona O'Neill (Oona Chaplin), daughter of playwright Eugene O'Neill in 1943. Oona gave birth to eight children: Geraldine Chaplin, Michael Chaplin, Josephine Chaplin, Victoria Chaplin, Eugene Chaplin, Jane Chaplin, Annette-Emilie Chaplin, and Christopher Chaplin.

In contrast to many of his boisterous characters, Chaplin was a quiet man who kept to himself a great deal. He also had an "un-millionaire" way of living. Even after he had accumulated millions, he continued to live in shabby accommodations. In 1921, Chaplin was decorated by the French government for his outstanding work as a filmmaker and was elevated to the rank of Officer of the Legion of Honor in 1952. In 1972, he was honored with an Academy Award for his "incalculable effect in making motion pictures the art form of the century". He was appointed Knight Commander of the Order of the British Empire in the 1975 New Year's Honours List. No formal reason for the honour was listed. The citation simply reads "Charles Spencer Chaplin, Film Actor and Producer".

Chaplin's other works included musical scores that he composed for many of his films. He also authored two autobiographical books, "My Autobiography" (1964) and its companion volume, "My Life in Pictures" (1974).

Chaplin died at age 88 of natural causes on December 25, 1977 at his home in Vevey, Switzerland. His funeral was a small and private Anglican ceremony according to his wishes. In 1978, Chaplin's corpse was stolen from its grave and was not recovered for three months; he was re-buried in a vault surrounded by cement.

Six of Chaplin's films have been selected for preservation in the National Film Registry by the United States Library of Congress: The Immigrant (1917), The Kid (1921), The Gold Rush (1925), City Lights (1931), Modern Times (1936), and The Great Dictator (1940).

Charlie Chaplin is considered one of the greatest filmmakers in the history of American cinema, whose movies were and still are popular throughout the world and have even gained notoriety as time progresses. His films show, through the Little Tramp's positive outlook on life in a world full of chaos, that the human spirit has and always will remain the same.

James Mason was born in Huddersfield and had a film career spanning over 50 years during which he appeared in over 100 films in England and America but never won an Oscar. Whatever role he played, from the wounded Belfast gunman in Odd Man Out to Rommel in The Desert Fox, his creamy velvet voice gave him away. Like Charlie Chaplin James left the screen to spend his later life living in Switzerland. His first marriage had been to Pamela Kellino, a Yorkshire mill owner's daughter and his second to Australian actress Clarissa Kaye.

Probably best-remembered for his turbulent personal life with Elizabeth Taylor (whom he married twice), Richard Burton was nonetheless also regarded as an often brilliant British actor of the post-WWII period.

Burton was born Richard Walter Jenkins in 1925 into a Welsh (Cymraeg)-speaking family in Pontrhydyfen to Edith Maude (Thomas) and Richard Walter Jenkins, a coal miner. The twelfth of thirteen children, his mother died while he was a toddler and his father later abandoned the family, leaving him to be raised by an elder sister, Cecilia. An avid fan of Shakespeare, poetry and reading, he once said "home is where the books are". He received a scholarship to Oxford University to study acting and made his first stage appearance in 1944.

His first film appearances were in routine British movies such as Woman of Dolwyn (1949), Waterfront Women (1950) and Green Grow the Rushes (1951). Then he started to appear in Hollywood movies such as My Cousin Rachel (1952), The Robe (1953) and Alexander the Great (1956), added to this he was also spending considerable time in stage productions, both in the UK and USA, often to splendid reviews. The late 1950s was an exciting and inventive time in UK cinema, often referred to as the "British New Wave", and Burton was right in the thick of things, and showcased a sensational performance in Look Back in Anger (1959). He also appeared with a cavalcade of international stars in the World War II magnum opus The Longest Day (1962), and then onto arguably his most "notorious" role as that of Marc Antony opposite Elizabeth Taylor in the hugely expensive Cleopatra (1963). This was, of course, the film that kick-started their fiery and passionate romance (plus two marriages), and the two of them appeared in several productions over the next few years including The V.I.P.s (1963), The Sandpiper (1965), the dynamic Who's Afraid of Virginia Woolf? (1966) and The Taming of The Shrew (1967), as well as box office flops like The Comedians (1967). Burton did better when he was off on his own giving higher caliber performances, such as those in Becket (1964), the film adaptation of the Tennessee Williams play The Night of the Iguana (1964), the brilliant espionage thriller The Spy Who Came in from the Cold (1965) and alongside Clint Eastwood in the World War II action adventure film Where Eagles Dare (1968).

His audience appeal began to decline somewhat by the end of the 1960s as fans turned to younger, more virile male stars, however Burton was superb in Anne of the Thousand Days (1969) as King Henry VIII, he put on a reasonable show in the boring Raid on Rommel (1971), was over the top in the awful Villain (1971), gave sleepwalking performances in Hammersmith Is Out (1972) and Bluebeard (1972), and was wildly miscast in the ludicrous The Assassination of Trotsky (1972).

By the early 1970s, quality male lead roles were definitely going to other stars, and Burton found himself appearing in some movies of dubious quality, just to pay the bills and support family, including Divorce His - Divorce Hers (1973) (his last on-screen appearance with Taylor), The Klansman (1974), Brief Encounter (1974), Jackpot (1974) (which was never completed) and Exorcist II: The Heretic (1977). However, he won another Oscar nomination for his excellent performance as a concerned psychiatrist in Equus (1977). He appeared with fellow acting icons Richard Harris and Roger Moore in The Wild Geese (1978) about mercenaries in South Africa. While the film had a modest initial run, over the past thirty-five years it has picked up quite a cult following. His final performances were as the wily inquisitor "O'Brien" in the most recent film version of George Orwell's dystopian 1984 (1984), in which he won good reviews, and in the TV mini series Ellis Island (1984). He passed away on August 5, 1984 in Celigny, Switzerland from a cerebral hemorrhage.

His mother was the French Lady Comynyplatt Henrietta de Gacher, his father was the British Lieutenant William Graham Niven, who died in the war when David was six years old. Niven was considered a difficult child to educate and had to change schools often until he finally went to Sandhurst Military Academy. He came to Malta as a soldier, left the army here and went to Canada, where he worked as a lumberjack, bridge builder, journalist and whiskey salesman. After detours via New York and Cuba, Niven settled in California in 1934, where he had his first roles as an extra. He appeared in smaller films until the Second World War and then had to go to war for the British army.

In between, he also starred in propaganda films. Niven fought on the British front at Dunkirk and was promoted to colonel in 1944. General Eisenhower decorated him with the medals of the American Legion of Merit. From his first marriage to Primula Rollo, whom he married in 1940, Niven had two sons, David and Jamie. After his wife died in an accident in 1946, he married the Swede Hjordis Tersmeden in 1948, and his daughters Kristine and Fiona came from this marriage. In 1952, Niven founded the television production "Four Star TV" with Charles Boyer and other colleagues and starred in the self-produced series "The David Niven Show" and "Rogues Against Crooks". He had already been successful as an actor for a long time.

Niven starred in the 1946 English production of Error in the Afterlife and then returned to Hollywood. He celebrated successes with "The Virgin on the Roof", "Bonjour Tristesse", "The Guns of Navarone", "55 Days in Peking", "The Pink Panther", "Lady L." and with "Casino Royale". In 1959 he reached the peak of his success when he was honored with the Oscar for Best Actor for Separated from Table and Bed. His most beautiful film role was that of "Phileas Fogg" in the Jules Verne film adaptation "Around the World in 80 Days". Niven later demonstrated his enormous skills in many other films. In the 1970s and 1980s he starred in "Vampira", "A Corpse for Dessert", "Death on the Nile", "The Lion Shows its Claws" and in "Grandpa Seldom Comes Alone".

In 1982 and 1983 he had his last two roles in "The Pink Panther is Hunted" and "The Curse of the Pink Panther". Niven retired and lived on the Cote d'Azur and in Switzerland.

David Niven died on July 29, 1983 in Switzerland as a result of the nervous disease ALS. He made part of his inheritance available to medical research.

With classic patrician features and an independent, non-conformist personality, Capucine began her film debut in 1949 at the age of 21 with an appearance in the film Rendezvous in July (1949). She attended school in France and received a BA degree in foreign languages. Married for six months in her early twenties, she never remarried. In 1957, she was discovered by director Charles K. Feldman while working as a high-fashion model for Givenchy in Paris and was brought to Hollywood to study acting under Gregory Ratoff. She was put under contract by Columbia studios in 1958 and had her first leading part in the movie Song Without End (1960). She made six more major movies in the early to mid 1960s, two of which (The Lion (1962) and The 7th Dawn (1964)) starred William Holden, with whom she had a two-year affair. Moving from Hollywood to a penthouse apartment in Lausanne, Switzerland, in 1962, she continued making movies, mostly in Europe, until her suicide in 1990.

Peter Ustinov was a two-time Academy Award-winning film actor, director, writer, journalist and raconteur. He wrote and directed many acclaimed stage plays and led numerous international theatrical productions.

He was born Peter Alexander Freiherr von Ustinow on April 16, 1921 in Swiss Cottage, London, the son of Nadezhda Leontievna (née Benois) and Jona Freiherr von Ustinow. His father was of one-quarter Polish Jewish, one-half Russian, one-eighth Ethiopian, and one-eighth German descent, while his mother was of one-half Russian, one-quarter Italian, one-eighth French, and one-eighth German ancestry. Ustinov had ancestral connections to Russian nobility as well as to the Ethiopian Royal Family. His father, also known as "Klop Ustinov", was a pilot in the German Air Force during World War I. In 1919, Jona Freiherr von Ustinow joined his own mother and sister in St Petersburg, Russia, where he met his future wife, artist Nadia Benois, who worked for the Imperial Mariinsky Ballet and Opera House in St Petersburg.

In 1920, in a modest and discreet ceremony at a Russian-German church in St Petersburg, Ustinov's father married Nadia. In February 1921, when she was seven months pregnant with Peter, the couple emigrated from Russia in the aftermath of the Communist Revolution. Young Peter was brought up in a multilingual family. He was fluent in Russian, French, Italian and German, as well as English. He attended Westminster College (1934-37), took the drama and acting class under Michel St Denis at the London Theatre Studio (1937-39), and made his stage debut in 1938 at the Stage Theatre Club in Surrey. He wrote his first play at the age of 19. In 1939, he made his London stage debut in a revue sketch, then had regular performances with the Aylesbury Repertory Company. The following year, he made his film debut in Hullo, Fame! (1940).

From 1942-46, Ustinov served with the British Army's Royal Sussex Regiment. He was batman for David Niven, and the two became lifelong friends. Ustinov spent most of his service working with the Army Cinema Unit, where he was involved in making recruitment films, wrote plays and appeared in three films as an actor. At that time he co-wrote and acted in The Way Ahead (1944) (aka "The Immortal Battalion").

Ustinov had a stellar film career as actor, director, and writer. Among his numerous screen acting gems were his unparalleled, Academy Award-nominated interpretation of Nero in Quo Vadis (1951) and roles in Max Ophüls's masterpiece Lola Montès (1955), Barefoot in Athens (1966), The Comedians (1967), Robin Hood (1973) and Logan's Run (1976). He also wrote and directed such brilliant films as Billy Budd (1962), Lady L (1965) and Memed My Hawk (1984). He was awarded two Oscars for Best Supporting Actor, one for his role in Spartacus (1960) and one for his role in Topkapi (1964), and received two more Oscar nominations as an actor and writer. His career slowed down a bit in the 1970s, but made a comeback as Hercule Poirot in Death on the Nile (1978) by director John Guillermin. In the 1980s, Ustinov recreated Poirot in several subsequent television movies and theatrical films, including Evil Under the Sun (1982) and Appointment with Death (1988), while his cinema work in the 1990s also includes his superb performance as Professor Gus Nikolais in George Miller's excellent dramatic film, Lorenzo's Oil (1992), a character partially inspired by Hugo Wolfgang Moser, a research scientist who had been director of the Neurogenetics Research Center at the Kennedy Krieger Institute and Professor of Neurology and Pediatrics at Johns Hopkins University.

His expertise in dialectic and physical comedy made him a regular guest of talk show hosts and late-night comedians. His witty and multidimensional humor was legendary, and he later published a collection of his jokes and quotations summarizing his wide popularity as a raconteur. He was also an internationally acclaimed TV journalist. Ustinov covered over 100,000 miles and visited more than 30 Russian cities during the making of his well-received BBC television series Russia (1986).

In his autobiographies, "Dear Me" (1977) and "My Russia" (1996), Ustinov revealed his observations on his life, career, and his multicultural and multi-ethnic background. He wrote and directed numerous stage plays, successfully presenting them in several countries. His drama, "Photo Finish", was staged in New York, London and St. Petersburg, Russia, where Ustinov directed the acclaimed production, starring Elena Solovey and Petr Shelokhonov. Ustinov also served as a Goodwill Ambassador for UNICEF and a president of WFM, a global citizens movement. Ustinov served as Rector of Dundee University for six years. He was awarded the Benjamin Franklin Medal from the Royal Society of Arts in 1957 and was knighted in 1990.

From 1971 until his death in 2004, Ustinov's permanent residence was a château in Bursins, Vaud, Switzerland. He died of heart failure on March 28, 2004, in a clinic in Genolier, also in Vaud. His funeral service was held at Geneva's historic Cathedral of St. Pierre, and he was laid to rest in the village cemetery of Bursins. He was survived by three daughters (Tamara, Pavla, and Andrea) and one son (Igor). His epitaph may be gleaned from his comment, "I am an international citizen conceived in Russia, born in England, working in Hollywood, living in Switzerland, and touring the World".

Paulette Goddard was a child model who debuted in "The Ziegfeld Follies" at the age of 13. She gained fame with the show as the girl on the crescent moon, and was married to a wealthy man, Edgar James, by the time she was 17. After her divorce she went to Hollywood in 1931, where she appeared in small roles in pictures for a number of studios. A stunning natural beauty, Paulette could mesmerize any man she met, a fact she was well aware of. One of her bigger roles in that period was as a blond "Goldwyn Girl" in the Eddie Cantor film The Kid from Spain (1932). In 1932 she met Charles Chaplin, and they soon became an item around town. He cast her in Modern Times (1936), which was a big hit, but her movie career was not going anywhere because of her relationship with Chaplin. They were secretly married in 1936, but the marriage failed and they were separated by 1940. It was her role as Miriam Aarons in The Women (1939), however, that got her a contract with Paramount. Paulette was one of the many actresses tested for the part of Scarlett O'Hara in Gone with the Wind (1939), but she lost the part to Vivien Leigh and instead appeared with Bob Hope in The Cat and the Canary (1939), a good film but hardly in the same league as GWTW. The 1940s were Paulette's busiest period. She worked with Chaplin in The Great Dictator (1940), Cecil B. DeMille in Reap the Wild Wind (1942) and Burgess Meredith in The Diary of a Chambermaid (1946). She was nominated for an Academy Award for Best Supporting Actress in So Proudly We Hail! (1943). Her star faded in the late 1940s, however, and she was dropped by Paramount in 1949. After a couple of "B" movies, she left films and went to live in Europe as a wealthy expatriate; she married German novelist Erich Maria Remarque in the late 1950s. She was coaxed back to the screen once more, although it was the small screen, for the television movie The Female Instinct (1972).

Jean-Luc Godard was born in Paris on December 3, 1930, the second of four children in a bourgeois Franco-Swiss family. His father was a doctor who owned a private clinic, and his mother came from a preeminent family of Swiss bankers. During World War II Godard became a naturalized citizen of Switzerland and attended school in Nyons, Switzerland. His parents divorced in 1948, at which time he returned to Paris to attend the Lycée Rohmer. In 1949 he studied at the Sorbonne to prepare for a degree in ethnology. However, it was during this time that he began attending with François Truffaut, Jacques Rivette, and Éric Rohmer.

In 1950 Godard, with Rivette and Rohmer, founded "Gazette du cinéma", which published five issues between May and November. He wrote a number of articles for the journal, often using the pseudonym "Hans Lucas". After Godard worked on and financed two films by Rivette and Rohmer, Godard's family cut off their financial support in 1951, and he resorted to a Bohemian lifestyle that included stealing food and money when necessary. In January 1952 he began writing film criticism for "Les cahiers du cinéma". Later that year he traveled to North and South America with his father and attempted to make his first film (of which only a tracking shot from a car was ever accomplished).

In 1953 he returned to Paris briefly before securing a job as a construction worker on a dam project in Switzerland. With the money from the job, he made a short film in 1954 about the building of the dam called Operation Concrete (1958). Later that year his mother was killed in a motor scooter accident in Switzerland. In 1956 Godard began writing again for "Les cahiers du cinéma" as well as for the journal "Arts". In 1957 Godard worked as the press attache for "Artistes Associés", and made his first French film, All Boys Are Called Patrick (1959).

In 1958 he shot Charlotte and Her Boyfriend (1958), his homage to Jean Cocteau. Later that year he took unused footage of a flood in Paris shot by Truffaut and edited it into a film called A Story of Water (1961), which was an homage to Mack Sennett. In 1959 he worked with Truffaut on the weekly publication "Temps de Paris". Godard wrote a gossip column for the journal, but also spent much time writing scenarios for films and a body of critical writings which placed him firmly in the forefront of the "nouvelle vague" aesthetic, precursing the French New Wave.

It was also in that year Godard began work on Breathless (1960). In 1960 he married Anna Karina in Switzerland. In April and May he shot The Little Soldier (1963) in Geneva and was preparing the film for a fall release in Paris. However, French censors banned it due to its references to the Algerian war, and it was not shown until 1963. In March 1960 Breathless (1960) premiered in Paris. It was hugely successful both with the film critics and at the box office, and became a landmark film in the French New Wave with its references to American cinema, its jagged editing and overall romantic/cinephilia approach to filmmaking. The film propelled the popularity of male lead Jean-Paul Belmondo with European audiences.

In 1961 Godard shot A Woman Is a Woman (1961), his first film using color widescreen stock. Later that year he participated in the collective effort to remake the film The Seven Deadly Sins (1962), which was heralded as an important project in artistic collaboration. In 1962 Godard shot Vivre sa vie (1962) in Paris, his first commercial success since "Breathless". Later that year he shot a segment entitled "Le Nouveau Monde" for the collective film Ro.Go.Pa.G. (1963), another important work in the history of collaborative multiple-authored art.

In 1963 Godard completed a film in homage to Jean Vigo entitled The Carabineers (1963), which was a resounding failure with the public and stirred furious controversy with film critics. Also that year he worked on a couple of collective films: The World's Most Beautiful Swindlers (1964) (from which Godard's sequence was later cut) and Six in Paris (1965). In 1964 Godard and his wife Anna Karina formed their own production company, Anouchka Films. They shot a film called A Married Woman (1964), which censors forced them to re-edit due to a topless sunbathing scene shot by Jacques Rozier. The censors also made Godard change the title to "Une femme marié" so as to not give the impression that this "scandalous" woman was the typical French wife. Later in the year, two French television programs were produced in devotion to Godard's work.

In the spring of 1965 Godard shot Alphaville (1965) in Paris; in the summer he shot Pierrot le fou (1965) in Paris and the south of France. Shortly thereafter he and Anna Karina separated. Following their divorce, Godard shot Made in U.S.A (1966), "Deux ou trois choses que je sais d'elle (1966)", "L'amour en l'an 2000" (1966) (a sequel to "Alphaville" shot as a sketch for the collective film "L'amour travers les ages" (1966)).

In 1967 Godard shot The Chinese (1967) in Paris with Anne Wiazemsky, who was the granddaughter of French novelist François Mauriac. During the making of the film Godard and Wiazemsky were married in Paris. Later in the year he was prevented from traveling to North Vietnam for the shooting of a sequence for the collective film Far from Vietnam (1967). He instead shot the sequence in Paris, entitled "Camera-Oeil". Also during 1967 Godard participated (as the only Frenchman) on an Italian collective film called Love and Anger (1969).

In 1968 Godard was commissioned by French television to make Le gai savoir (1969). However, television producers were so outraged by the product Godard produced that they refused to show it. In May of that year Henri Langlois was fired by the head of the French Jean-Pierre Gorin to form the Dziga-Vertov group, infuriating Godard. He became increasingly concerned with socialist solutions to an idealist cinema, especially in providing the proletariat with the means of production and distribution. Along with other militantly political filmmakers in the Dziga-Vertov group, Godard published a series of 'Ciné-Tracts' outlining these viewpoints. In the summer of 1968 Godard traveled to New York City and Berkeley, California, to shoot the film "One American Movie", which was never completed. In September he made a trip to Canada to start another film called "Communication(s)", which also went unfinished, and then made a visit to Cuba before returning to France.

In 1969 Godard traveled to England, where he made the film See You at Mao (1970) for BBC Weekend Television, but the network later refused to show it. In the late spring he traveled with the Dziga-Vertov group to Prague to secretly shoot the film "Pravda". Later that year he shot Lotte in Italia (1971) ("Struggle for Italy") for Italian television. It was never shown, either.

In 1970 Godard traveled to Lebanon to shoot a film for the Palestinian Liberation Organization entitled "Jusque à la victoire" (1970) ("Until Victory"). Later that year he traveled to dozens of American universities trying to raise money for the film. In spite of his efforts, it was never released.

Bruno Ganz was an acclaimed Swiss actor who was a prominent figure in German language film and television for over fifty years. He is internationally renowned for portraying Adolf Hitler in the Academy Award-nominated film Downfall (2004).

Ganz was born in Zürich, to a Swiss mechanic father and a northern Italian mother. He decided to pursue an acting career by the time he entered university. He debuted at the theatre in 1961, and gained a reputation as a reflective, charismatic and technically brilliant stage actor. In 1970, he and Peter Stein founded the theatre company 'Schaubühne' in Berlin, Germany. On stage, Ganz portrayed Dr. Heinrich Faust in Peter Stein's staging of Faust, Part One and Faust, Part Two in 2000.

In cinema, Ganz became one of the best-known and most acclaimed actors in the German language, collaborating with many of the most respected European actors and directors of his time. He also starred in international features that reached a global audience. His film debut was The Gentleman in the Black Derby (1960). He also starred in Unknown (2011), The Counselor (2013), and The Party (2017).

Ganz died from cancer on 16 February 2019 at his home in the village of Au, in Wädenswil, Switzerland.

With almost fifty years in the music business, Tina Turner became one of the most commercially successful international female rock stars. Her sultry, powerful voice, her incredible legs, her time-tested beauty and her unforgettable story all contributed to her legendary status.

Born to a share-cropping family in the segregated South, Anna Mae Bullock and her elder sister were abandoned by their sparring parents early on. After her grandmother's death, she eventually moved to St. Louis, Missouri to reunite with her mother. This opened up a whole new world of R&B nightclubs to the precocious 16-year-old. Called up to sing onstage with Ike Turner's Kings of Rhythm in 1956, she displayed a natural talent for performing which the bandleader was keen to develop. Soon, Anna Mae's aspirations of a nursing career were forgotten and she began to hang around with the group. When the singer booked to record "A Fool in Love" failed to turn up for the session, Ike drafted Anna Mae to provide the vocal with the intention of removing it later. However, once he heard her spine-tingling performance of the song, he soon changed his plans. He changed her name to Tina Turner, and when the record became a hit, Tina became a permanent fixture in Ike's band and his quest for international stardom. One thing led to another: they were married in Mexico after the births of Tina's two sons - the first a result of an earlier relationship with a musician, the second with Ike.

Before too long, the Ike and Tina Turner Revue was tearing up large and small R&B and soul venues throughout the early and mid-1960s. The hits were relatively few, but the unsurpassed energy and excitement generated by the live stage show, primarily Tina, made the Revue a solid touring act, along with the likes of James Brown and Ray Charles. Their greatest attempt to "cross over" came in 1966 with the historic recording of the Phil Spector production, "River Deep, Mountain High". While it was a commercial flop in the United States, it was a monster hit in Europe - and the start of Tina's European superstar status, which never faded during her long stint of relative obscurity in America in the late 1970s. The Revue entered that decade as a top touring and recording act, with Tina becoming more and more recognized as the star power behind the group's international success. Ike, while having been justly described as an excellent musician, a shrewd businessman and the initial "brains" behind the Revue, was also described (by Tina and others) as a violent, drug-addicted wife-beater who was not above frequently knocking Tina (and other women) around both publicly and privately. Despite hits such as "Proud Mary" and Tina's self-penned "Nutbush City Limits", further mainstream success eluded the group and Ike blamed Tina. After years of misery and a failed suicide attempt, Tina finally had enough in July 1976, when she fled the marriage (and the Revue) with the now-famous 36 cents and a Mobil gasoline credit card.

Tina, nearing 40, endured a long and, at times, humiliating trek back to superstardom through working many substandard gigs and performing a repertoire of current Top 40 hits and old Ike & Tina tunes in hotel ballrooms and supper clubs. She later admitted she was having the time of her life at this point, simply putting together her own show and performing. She refused to wrangle for a settlement from the divorce, despite being in huge debt to all the tour promoters she had let down by fleeing the Revue. After an appearance on Olivia Newton-John: Hollywood Nights (1980), Tina - in a wise business move - persuaded Newton-John's management team to take her on. With Roger Davies at her side, Tina's profile began to rise, and performances alongside the likes of Rod Stewart and The Rolling Stones introduced her to the rock market she so wanted to pursue.

The European release of her cover of Al Green's "Let's Stay Together" in 1983 was a major turning point in Tina's career. The record hit #6 on the British chart, and Capitol Records were soon demanding a full album. "Private Dancer" was hurriedly produced in England in two weeks flat. The rest is rock and roll history. The next single - "What's Love Got to Do with It?" - became Tina's first #1 single the following year, and the album hung around the Top 10 for months, spawning two further hits. At the 1985 Grammy Awards, her astonishing comeback was recognized with nominations in the rock, R&B and pop categories and rewarded with four trophies. After that time, the successes just kept coming: a starring role in Mad Max Beyond Thunderdome (1985); duets with Bryan Adams, David Bowie, Eric Clapton and Mick Jagger amongst others; several sell-out world tours; a string of hit albums and awards; a bestselling autobiography, "I, Tina"; and the blockbuster biopic What's Love Got to Do with It (1993) chronicling her life.

After her "Twenty Four Seven Millenium Tour" in 2000, Tina announced she would retire from the concert stage, but continue to record and play live on a smaller scale. Four years later, at age 65, she released a career retrospective entitled "All the Best" featuring new recordings, and reached #2 in the American album chart, her highest ever placing for an album there. She ended 2005 as one of five recipients of the Kennedy Center Honors, the highest form of recognition of excellence in the arts in America. Despite changing the direction of her working life, she will always be remembered as a dynamic live performer and recording artist, able to thrill audiences like no other woman in music history. Tina Turner is the undisputed Queen of Rock and Roll.

Born in Berlin, Germany. After her role in Metropolis (1927) she made a string of movies in which she almost always had the starring role, easily making the transition to sound films. Her last film was An Ideal Spouse (1935) which was released in 1935. She died on June 11th 1996 of heart failure in Ascona, Switzerland.

Oona O'Neil was born in Warwick Parish, Bermuda, the daughter of famed American playwright Eugene O'Neill and English-born socialite Agnes Boulton. Oona had a fairly happy childhood, although she rarely saw her busy father. During her teens Oona attended boarding school in New York where she met Gloria Vanderbilt and Carol Marcus, and in 1941 Oona was named one of the most sought-after débutantes of the social season. Oona felt it was only natural that she become an actress, since she was the daughter of a playwright and the granddaughter of James O'Neill, a noted theater actor during the late 19th century.

Oona traveled to Hollywood in 1942, where she met silent film legend Charles Chaplin at the home of her agent. Chaplin began courting Oona after she auditioned for a film he was directing, and the pair married in 1943. He was 54; she was just 18. Oona scrapped plans to become an actress, opting instead to raise a family of what would be eight children with Charlie. Although Oona was content with her life, she was deeply troubled by the failed relationship with her father, who disowned her and cut communication with Oona when she married Chaplin.

During the height of McCarthyism 1952, Chaplin sailed to England to promote a film. En route, Chaplin learned that he would not be allowed to return to the U.S. unless he would submit to inquires regarding his morality. Refusing to do so, he and his family eventually ended up in Vevey, Switzerland.

Oona spent the rest of her life in Vevey, leaving only a few times after Charlie died in 1977 at the age of 88. (Oona was only 51.) Oona developed a few close relationships with Hollywood icons, like actor Ryan O'Neal, but she never married again. She died in Vevey from pancreatic cancer on September 27th, 1991.

Film director Douglas Sirk, whose reputation blossomed in the generation after his 1959 retirement from Hollywood filmmaking, was born Hans Detlef Sierck on April 26, 1897, in Hamburg, Germany, to a journalist. Both of his parents were Danish, and the future director would make movies in German, Danish and English. His reputation, which was breathed to life by the French nouvelle vague critiques who developed the "auteur" (author) theory of film criticism, casts him as one of the cinema's great ironists. In his American and European films, his characters perceive their lives quite differently than does the movie audience viewing "them" in a theater. Dealing with love, death and societal constraints, his films often depend on melodrama, particularly the high-suds soap operas he lensed for producer Ross Hunter in the 1950s: Magnificent Obsession (1954), All That Heaven Allows (1955) and his last American film, Imitation of Life (1959) (Sirk's favorite American film was the Western Taza, Son of Cochise (1954), which was shot in 3-D).

Sirk's path to crafting what are now considered paradigmatic dissections of conformist 1950s American society began when he was 14 years old, in his native Germany, when he discovered the theater. He was very influenced by William Shakespeare's history plays. The young Sirk also liked the cinema, particularly films starring Danish actress Asta Nielsen. Sirk credited Nielsen's films with providing him an early exposure to "dramas of swollen emotions".

After World War One he studied law at Munich University beginning in 1919, then transferred to Hamburg University, where he read philosophy and the history of art. Following in the vein of his father, he wrote for the newspapers to earn money, and also began to work in the theater. It was in his native Hamburg that he made his professional debut as a theatrical director, with 'Hermann Bossdorf''s "Bahnmeister Tod" ("Stationmaster Death") in 1922. Until forced to leave Germany with the rise of the Nazi dictatorship, Sirk developed into one of the leading theatrical directors in the Weimar Republic. He began directing shorts at UFA Studios in 1934, and made his first feature film, April, April! (1935), shooting it first in Dutch and then in German).

His cinema technique was influenced by his interest in painting, particularly the works of Daumier and Delacroix, which he later claimed left "their imprint on the visual style of my melodramas". He made eight films in all for UFA through 1937, and the German Minister of Propaganda who oversaw the film industry, Dr. Joseph Goebbels, was an admirer. However, he left Germany in 1937 after his second wife, stage actress 'Hilde Jary', had fled to Rome to escape persecution as a Jew. Sirk's first wife and the mother of his only child, Lydia Brinken, a follower of Adolf Hitler, had denounced Sirk and his relationship with Jary, necessitating their departure. Sirk never saw his son again, who died during World War Two.

Sirk and Jary eventually made it to the US by 1941, and he joined the community of émigré/refugee film people working in Hollywood. His first directorial stint in America was Hitler's Madman (1943), but it is for his work at Universal International in the 1950s for which he is primarily known. For producer Ross Hunter he made nine films, many of which involved the collaboration of Rock Hudson, cinematographer Russell Metty, screenwriter George Zuckerman and art director Alexander Golitzen.

"I was, and to a large extent still am, too much of a loner," he said in his retirement, and his partnership with Universal, Hollywood and American society at large was a love-hate relationship. He and his wife did not approve of the excesses of the Hollywood life style, such as nude women splashing around in producer Albert Zugsmith's pool during a party (he shot two films for Zugsmith). Even though he had his biggest success with the remake of "Imitation of Life" (winner of the Laurel Award given out by movie exhibitors for the most successful picture of 1959), he and his wife left the US for Switzerland after the movie wrapped. The move was partly due to poor health, but by 1959 he had had enough of America, which he never felt at home in. The couple lived in Lugano, Switzerland until his death in 1987.

When he retired from American filmmaking (he was to make only one more feature length film, in German, in 1963), his reputation was that of a second- or third-tier director who turned out glossy Hollywood soap operas, a sort of second-rate Vincente Minnelli without the saving grace of Minelli's undeniable genius for musicals. In the nearly half-century since, Sirk has become one of the most revered of Hollywood's auteurs.

Jean-Luc Godard got the ball rolling in the April 1959 issue of "Cahiers du cinéma", in which he wrote a love letter to Sirk about his adaptation of the 'Erich Maria Remarque' novel A Time to Love and a Time to Die (1958). But the true genesis of the Sirk cult was another "Cahiers" article, "L'aveugle et le Miroir ou l'impossible cinema de Douglas Sirk" ("The Blind Man and the Mirror or The Impossible Cinema of Douglas Sirk"), which was in the April 1967 issue. That issue of "Cahiers" also featured an extended interview with Sirk and a "biofilmographie". More converts came to the Sirk cult via Andrew Sarris, who popularized the "auteur" concept in his seminal 1968 work, " The American Cinema," Yb Gucci Gae ranked Sirk on "The Far Side of Paradise". Sarris faintly praised Sirk's handling of the soap elements of his Universal oeuvre by his not shirking from going for broke and stirring all the improbable elements of melodrama into a heady witches' brew; he also complemented his distinctive visual style. However, the major work that transformed Sirk's reputation was rooted in the intelligence and thoughtfulness of the man himself: Jon Halliday's 1971 book-long interview, "Conversations with Sirk", which made his critical reputation in the English-speaking world. The Sirk of Halliday's book is an intellectual with a thorough grasp of filmmaking. The book is must-reading for any student or practitioner of the cinema. The 1972 Edinburgh Film Festival featured a 20-film retrospective of Sirk, and in 1974, the University of Connecticut Film Society put on a complete retrospective of Sirk's American films. The rise of 'Rainer Werner Fassbinder' as the best and the brightest of the post-war German directors also burnished Sirk's reputation, as Fassbinder was an unabashed fan of his films. Fassbinder's films clearly were indebted to Sirk's melodrama, his mise-en-scene, and his irony (Fassbinder visited Sirk at his Swiss home, and the two became friends. Sirk later, with Fassbinder's encouragement, taught at the Munich film school).

Society is an omnipresent character in Sirk's films, as important as the characters played by his actors, such as Jane Wyman and Rock Hudson. Sirk's characters are buffeted by forces beyond their control, as their lives are delineated by cultural mores that constrain their behavior and their moral choices. In addition to this fatalism, Sirk's characters must contend with repression. It is the latter trope that recruits the most converts to the Sirk cult, as the forces of repression are "signalled" through the imagery of a Sirk film, which typically was crafted in collaboration with the Oscar-winning lighting cameraman Russell Metty when Sirk worked for Hunter at Universal. The plots of the movies that are at the core of the Sirk cult are rooted in problems that would be insurmountable but for the miracles provided by the deus ex machina known as the Hollywood Happy Ending.

While Sirk was glad that his reputation had waxed since his retirement and that he was now respected, he was uncomfortable with some of the criticisms of his work. He particularly was irritated by cineastes' labeling him an unequivocal critic of the American Way and of the social conformity of 1950s America. Many critics seemed to see Sirk as American cinema's equivalent to Bertolt Brecht, that is, a fierce critic of the bourgeoisie. Sirk, like many of his generation in Germany, had been influenced by Brecht (he had directed a production of Brecht/Kurt Weill's Three Penny Opera (1963) in Germany), but he did not feel that he was a brother-in-arms of the unabashed communist Brecht, as many of his critics would have it. Like one of his own characters, Sirk was now subjected to societal forced outside his control, quite unlike the worlds he had controlled as a director in Germany and the United States.

Ironically for the great ironist, when Douglas Sirk died on January 14, 1987, his reputation was not yet in full flower. He continues to exert his influence on a new generation of filmmakers all over the world.

Robert Siodmak (8 August 1900 - 10 March 1973) was a German-born, American film director. He is best remembered as a thriller specialist and for a series of stylish, unpretentious Hollywood films noirs he made in the 1940s.

Siodmak (pronounced SEE-ODD-MACK) was born in Dresden, Germany, the son of Rosa Philippine (née Blum) and Ignatz Siodmak. His parents were both from Jewish families in Leipzig (the myth of his American birth in Memphis, Tennessee was necessary for him to obtain a visa in Paris during World War II). He worked as a stage director and a banker before becoming editor and scenarist for Curtis Bernhardt in 1925 (Bernhardt would direct a film of Siodmak's story "Conflict" in 1945). At twenty-six he was hired by his cousin, producer Seymour Nebenzal, to assemble original silent movies from stock footage of old films. Siodmak worked at this for two years before he persuaded Nebenzal to finance his first feature, the silent chef d'oeuvre, "Menschen am Sonntag" ("People on Sunday") in1929. The script was co-written by Billy Wilder and Siodmak's brother Curt Siodmak, later the screenwriter of "The Wolf Man" (1941). It was the last German silent and also included such future Hollywood artists as Fred Zinnemann, Edgar G. Ulmer, and Eugen Schufftan. His next film--the first at UFA to use sound--was the 1930 comedy "Abschied" for writers Emeric Pressburger and Irma von Cube, followed by "Der Mann, der seinen Mörder sucht," another comedy, yet quite different and unusual, a likely product of Billy Wilder's imagination (remade a noir, "DOA," in 1950). But in his next film, the crime thriller "Stürme der Leidenschaft," with Emil Jannings and Anna Sten, Siodmak found a style that would become his own.

With the rise of Nazism and following an attack in the press by Hitler's minister of propaganda Joseph Goebbels in 1933 after viewing "Brennendes Geheimnis" ("The Burning Secret"), Siodmak left Germany for Paris. His creativity flourished, as he worked for the next six years in a variety of film genres, from comedy ("Le sexe fable" and "La Vie Parisienne" ) to musical ("La crise est finie," with Danielle Darrieux) to drama ("Mister Flow," "Cargaison blanche," "Mollenard"--compare Gabrielle Dorziat's shrewish wife with that of Rosalind Ivan's in "The Suspect"--and the superb "Pièges," with Maurice Chevalier and Erich Von Stroheim). While in France, he was well on his way to becoming successor to Rene Clair, until Hitler again forced him out. Siodmak arrived in Hollywood in 1939, where he made 23 movies, many of them widely popular thrillers and crime melodramas, which critics today regard as classics of film noir.

Beginning in 1941, he first turned out several B-films and programmers for various studios before he gained a seven-year contract with Universal Studios in 1943. The best of those early films are the thriller "Fly by Night" in 1942, with Richard Carlson and Nancy Kelly, and in 1943 the touching weepie "Someone to Remember," with Mable Paige in a signature role. As house director, his services were often used to salvage troublesome productions at the studio. On Mark Hellinger's production "Swell Guy" (1946), for instance, Siodmak was brought in to replace Frank Tuttle only six days after completing work on "The Killers." Siodmak worked steadily while under contract, overshadowed by high profile directors, like Alfred Hitchcock, with whom he had been often compared by the press.

At Universal, Siodmak made yet another B-film, "Son of Dracula"(1943), the third and best in a trilogy of Dracula movies (based on his brother Curt's original story). His second feature, and first A-film, was the Maria Montez/Jon Hall vehicle, "Cobra Woman" (1944), made in garish Technicolor (Montez's cobra dance alone is worth the price of admission).

His first all-out noir was "Phantom Lady" (1944), for staff producer Joan Harrison, Universal's first female executive and Alfred Hitchcock's former secretary and script assistant. A classic, however flawed, it showcased Siodmak's skill with camera and editing to dazzling effect, but no more so than in the iconic jam-session sequence with Elisha Cook Jr. in throes on the drums. Following the critical success of "Phantom Lady," Siodmak directed "Christmas Holiday" (1944) with Deanna Durbin and Gene Kelly (Hans J. Salter received an Oscar nomination for best music). Beginning with this film, his work in Hollywood attained the stylistic and thematic characteristics that are evident in his later noirs. "Christmas Holiday," adapted from a W. Somerset Maugham novel by Herman J. Mankiewicz, was Durbin's most successful feature, which she considered her only good film (and that Mankiewicz said was among his work in the 40s of which he was most proud). Siodmak's use of black-and-white cinematography and urban landscapes, together with his light-and-shadow designs, formed the basic structure of classic noir films. In fact, he often collaborated with cinematographers, such as Nicholas Musuraca, Elwood Bredell, and Franz Planer, to achieve in his films the Expressionist look he had cultivated in his early years at UFA (for "Christmas Holiday," he instructed Bredell in the use of deep-focus photography, which Gregg Toland had perfected for "Citizen Kane"). During Siodmak's tenure, Universal made the most of the noir style in "The Suspect," "The Strange Affair of Uncle Harry" and "The Dark Mirror," but the capstone was "The Killers" in 1946, Burt Lancaster's film debut and Ava Gardner's first dramatic, featured role. A critical and financial success, it earned Siodmak his only Oscar nomination for direction in Hollywood (his German production "The Devil Strikes at Night" ("Nachts, wenn der Teufel kam"), based on the true story of serial killer Bruno Lüdke, was nominated for Best Foreign Language Film in 1957). While still under contract at Universal, Siodmak worked on loan out to RKO for the thriller "The Spiral Staircase," which he edited freely, without taking screen credit. For 20th Century Fox and producer Darryl F. Zanuck, he directed, partly on location in New York City, the crime noir "Cry of the City" in 1948, and in 1949 for MGM he tackled its lux production "The Great Sinner," but the prolix script proved unmanageable for Siodmak who relinquished direction to the dependable and bland Mervyn LeRoy. On loan out to Paramount in 1949, he made for producer Hal B. Wallis his penultimate American noir "The File on Thelma Jordan," with Barbara Stanwyck at her most fatal--and sympathetic. That she can be both is owed entirely to Siodmak who saw in this film a thematic link with "The Suspect" and "The Strange Affair of Uncle Harry," with the failed lovers of these films and significantly their tragic conclusions (ten years later he addressed the same theme in "The Rough and the Smooth"). Perhaps his finest American noir--although not his last--is "Criss Cross" that was to reunite him not only with Lancaster, but also "The Killers" producer Mark Hellinger, who died suddenly before production began in 1949. Working without the hands-on control of Hellinger again, Siodmak was able to make this film his own as he could not the earlier film. Yvonne De Carlo's working-class femme fatal (a high mark in her career) completes the deadly triangle, along with Lancaster and Dan Duryea: the archetype of doomed attraction central to all Siodmak's noirs, but the one he could fully express to its nihilistic conclusion.

Siodmak immersed himself in the creative process and genuinely loved working with actors; in fact, he was considered an actor's director, discovering Burt Lancaster, Ernest Borgnine, Tony Curtis, Debra Paget, Maria Schell, Mario Adorf, and skillfully directing actresses, such as Ava Gardner, Olivia de Havilland, Dorothy McGuire, Yvonne de Carlo, Barbara Stanwyck, Geraldine Fitzgerald, and Ella Raines.[1]

He directed Charles Laughton (a close friend) and George Sanders, actors with indelible personas, and got from both perhaps the unlikeliest, most natural and under-played performances of their careers. He managed with Lancaster to capture a youthful vulnerability--despite the actor's age (he was 33)--that, watching him in "The Killers," surprises us even today. He accomplished the impossible and got a believable, dramatic performance from Gene Kelly who never before or since looked so (intentionally) frightening on screen. But above all, it must be acknowledged, he made audiences sit up and notice Ava Gardner and her potential to ruin men.

Before leaving Hollywood for Europe in 1952, following the problematic production "The Crimson Pirate" for Warner Bros. and producer Harold Hecht, his third and last film with Burt Lancaster (Siodmak dubbed the chaotic experience "The Hecht Follies"), Siodmak had directed some of the era's best films noirs (twelve in all), more than any other director who worked in that style. However, his identification with film noir, generally unpopular with American audiences, may have been more of a curse than a blessing.

He often expressed his desire to make pictures "of a different type and background" than the ones he had been making for ten years. Nevertheless, he ended his Universal contract with one last noir, the disappointing "Deported" (1951) which he filmed partly abroad (Siodmak was among the first refugee directors to return to Europe after making American films). The story is loosely based on the deportation of gangster Charles "Lucky" Luciano. Siodmak had hoped Loretta Young would star, but settled for the Swedish actress Marta Toren.

Those "different type" of films he had made--"The Great Sinner" (1949) for MGM, "Time Out of Mind" (1947) for Universal (which Siodmak also produced), "The Whistle at Eaton Falls" (1951) for Columbia Pictures (Ernest Borgnine's debut and Dorothy Gish's return to the screen)--all proved ill-suited to his noir sensibilities (although in 1952 "The Crimson Pirate," despite the difficult production, was a surprising and pleasing departure--in fact, Lancaster believed it was inspiration for the tongue-in-cheek style of the James Bond films).

The five months he collaborated with Budd Schulberg on a screenplay tentatively titled "A Stone in the River Hudson," an early version of "On the Waterfront," was also a major disappointment for Siodmak. In 1954 he sued producer Sam Spiegel for copyright infringement. Siodmak was awarded $100,000, but no screen credit. His contribution to the original screenplay has never been acknowledged.

Siodmak's return to Europe in 1954 with a Grand Prize nomination at the Cannes Film Festival for his remake of Jacques Feyder's "Le grand jeu" proved a misstep, despite its stars, Gina Lollobrigida (two of them) and Arletty in the role originated by Françoise Rosay, Feyder's wife. In 1955, Siodmak returned to the Federal Republic of Germany to make "Die Ratten," with Maria Schell and Curd Jurgens, winning the Golden Berlin Bear at the 1955 Berlin Film Festival. It was the first in a series of films critical of his homeland, during and after Hitler, which included the remarkable "Nachts, wenn der Teufel kam," both thriller and social artifact of Germany under Nazi rule, shot in documentary style reminiscent of "Menschen am Sontag" and "Whistle at Eaton Falls," and in 1960, "Mein Schulfreund," an absurdist comedy, dark and strange, with Heinz Ruhmann as a postal worker attempting to reunite with childhood friend Hermann Goering. Between these films, and "Mein Vater, der Schauspieler" in 1956, with O. W. Fischer (the German Rock Hudson), he took a detour into Douglas Sirk territory with the sordid melodrama, "Dorothea Angermann" in 1959, featuring Germany's star Ruth Leuwerik. Later the same year he left Germany for Great Britain to film "The Rough and the Smooth," with Nadja Tiller and Tony Britton, yet another noir, but much meaner and gloomier than anything he had made in America (compare its downbeat ending with that of "The File on Thelma Jordan"). He followed with "Katia" also in 1959, a tale of Czarist Russia, with twenty-one-year-old Romy Schneider, mistakenly titled in America "The Magnificent Sinner," recalling--unfavorably--Siodmak's other costume melodrama. In 1961, "L'affaire Nina B," with Pierre Brasseur and Nadja Tiller (again), returned Siodmak to familiar ground in a slick, black-and-white thriller about a pay-for-hire Nazi hunter, which could be argued was the start of the many spy themed films so popular in the 1960s. In 1962, the entertaining "Escape from East Berlin," with Don Murray and Christine Kaufman, had all the characteristic style of a Siodmak thriller, but was one that he later dismissed as something he had made for "little kids in America." His work in Germany returned to programmers like those that had begun his career in Hollywood 23 years earlier. From 1964-1965, he made a series of films with former Tarzan Lex Barker: "Der Schut," "Der Schatz der Azteken," and "Die Pyramide des Sonnengottes," all taken from the western, adventure novels of Karl May and made for little kids in both Germany and America.

His return to Hollywood film-making in 1967 to make the wide-screen western "Custer of the West" was another disappointment (it had been a project originally intended for Akira Kurosawa). With Robert Shaw in the title role and his wife Mary Ure as Mrs. Custer, it is the oddest of the Custer film biographies, yet interesting in its contemporary portrayal of Custer's anti-social individualism.

He ended his career with a six-hour, two-part toga and chariot epic, "Kampf um Rom" (1968), a more campy work (perhaps intentionally) than "Cobra Woman" had been. There was a brief and profitable foray into television in Great Britain with the series "O.S.S." (1957-58). Siodmak was last seen publicly in an interview for Swiss television at his home in Ascona in 1971. He died alone in 1973 in Locarno, seven weeks after his wife's death.

The British Film Institute ran a retrospective of his career in April and May of 2015.

As an actress she came to prominence in the 60s nouvelle vague. As a chanteuse she was noted for her beautifully emotional, melancholy voice and went on to sell more than 35 million albums. Marie Laforet was born Maïtena Doumenach in the seaside resort of Soulac-sur-Mer in the Gironde region of Acquitane. After being raped by a neighbour at the age of three, she was unable to speak for a long time. Marie had also developed a natural shyness which she took great pains to overcome as a youngster. She was enrolled at the prestigious Lycée Jean-de-La-Fontaine when the family moved to Paris. Eventually she undertook drama classes with actor/director Raymond Rouleau. At the age of twenty, she won a radio talent contest. Soon thereafter -- thrust into almost instant stardom -- Marie was cast as the female lead in her first film, the René Clément-directed thriller Purple Noon (1960) (based on the Patricia Highsmith novel The Talented Mr. Ripley), starring Alain Delon and Maurice Ronet. In her next high profile picture she was The Girl with the Golden Eyes (1961), permanently taking on the tag and remaining strongly identified with this role for years to come. The director, Jean-Gabriel Albicocco became the first of her five husbands. All those marriages ultimately ended in divorce.

The world of music being still more competitive than that of acting has often prompted hopeful musicians to start out as actors. Marie Laforet was no exception. Her career as a vocalist only took off after she sang the jaunty title song in Saint-Tropez Blues (1961), a musical comedy in which she also starred. However, after that, she went from strength to strength with renditions of romantic ballads and pop hits like Apres Toi Qui Sait, Un amour qui s'est eteint, Les vendanges de l'amour, Viens Viens and the haunting Tu Fait Semblant. She also recorded successful cover versions of Bob Dylan's t Blowin' in the Wind," Simon & Garfunkel's "The Sound of Silence" and The Rolling Stones number "Paint It Black," (as "Marie Douceur, Marie Colère"). In the 70s, Laforet revamped her style and her repertoire and widened her appeal by branching out into American and Eastern European folk music.

Her screen career meanwhile continued through the 60s with unabated success in generally above-average productions, usually paired with seasoned box-office stars: in Dark Journey (1961) (playing Angele, a prostitute, this story of a love triangle partnered her with Louis Jourdan and the magnificent Lilli Palmer); Rat Trap (1963) (an adventure, filmed in Paraguay with Charles Aznavour); the Franco-Italian rom-com Male Hunt (1964) (one of several films in which she appeared with Jean-Paul Belmondo); the slick caper comedy How Not to Rob a Department Store (1965) (with Jean-Claude Brialy) and (as a resourceful heroine outwitting international spies) in Claude Chabrol's sub-Hitchcockian action thriller Blue Panther (1965). Laforet lent a touch of continental sophistication to Jack of Diamonds (1967), an international co-production about a team of cat burglars filmed in Germany and released by MGM, but the picture proved somewhat less than satisfactory. Television became a viable medium for character roles later in her career.

Despite enduring popular acclaim and sold-out concerts, Laforet was less than content with her career, famously declaring "I'm ashamed of doing what I do: interpreting pop songs in a superficial way." By 1978, she had ceased going on tour (though she did make a final comeback in 2005), resettled in Geneva, became a Swiss citizen and opened an art gallery. She spent the succeeding decades tending to art, writing songs as well as a book of biographical reminiscences. In the late 90s, she returned to the stage at the Théâtre Antoine and at the Opéra Comique in Paris with a tour-de-force portrayal of opera diva Maria Callas in Terrence McNallys play "Master Class". Laforet finally retired from screen acting in 2010 and died in Genolier, Switzerland, on November 2 2019 at the age of 80.

Born Olga Vladimirovna Baklanova, one of six children of Vladimir Baklanoff and his wife Alexandra, later billed as the Russian Tigress in her early talking films, was born August 19, 1893. She graduated from the Cherniavsky Institute in Moscow prior to her selection in 1912 at age 19 to apprentice at the Moscow Art Theatre. During her early years at M.A.T. (1914-1918) she appeared in perhaps 18 films bringing her into contact with Tourjansky, Boleslawski and M. Chekov among others. Her last Russian film, Bread (1918) was the first communist agitprop vehicle. From 1917 she appeared in the "classics" on the parent stage and at the M.A.T. First Studio. Her mentor, Nemirovich-Danchenko, showcased her in avant-garde productions of the newly created M.A.T. Musical Studio from 1920-1925. She was honored with the Worthy Artist Of The Republic by the Soviet regime.

Eight months after her M.A.T. New York debut in December 1925, she declined to return with the M.A.T. company to Russia and subsequently defected. She was noticed by the Hollywood studios while performing on stage in Los Angeles in The Miracle in the role of the nun. Her film debut was a bit in The Dove (1927). Her dramatic Portrayals in The Man Who Laughs (1928), Street of Sin (1928), The Docks of New York (1928) and Forgotten Faces (1928) brought her critical acclaim in 1928. Her subsequent vamp/tramp roles in early Paramount and Fox talking films nearly destroyed her promising start. Stagey mannerisms and a heavy accent relegated her to supporting roles. She appeared to advantage in three films at MGM including the infamous Freaks (1932) with an unrestrained and legendary performance.

After appearing in west coast stage productions in 1931-32, she permanently left for the Broadway stage in 1933 following one last film at Paramount. From 1933 to 1943 she starred in various Broadway productions and then toured in road companies of Cat And The Fiddle, Twentieth Century, Grand Hotel and Idiot's Delight. She debuted on the London stage in 1936 in Going Places. One last big role in Claudia (1943) kept her busy for two years (1941-1943). She returned to Hollywood in 1943 to recreate her stage role. Some summer stock and occasional night club appearances followed as she moved into retirement.

During the mid-1960s Olga was interviewed by Richard Lamparski, Kevin Brownlow and John Kobal who all recognized her unique contributions in the performing arts. Her death occurred at Vevey, Switzerland on September 6, 1974 after a period of declining health.

Mary first appeared on stage aged just 10. She received her formal training at the royal Academy of Dramatic Art (RADA) and went on to a long and distinguished career in film, television and the theatre. She toured Britain with her own theatrical touring company.

With his whitish blond crew-cut, slow, menacing drawl and Germanic manner, Van Eyck was destined to be typecast as stereotypically scowling, arrogant Nazi officers. This was ironic, because he was an avowed anti-fascist who had left Germany in 1931 -- two years before Adolf Hitler came to power. The son of an aristocratic Prussian land owner, his father had intended him to embark on a military career. Instead, Peter spent his education in Berlin, where he trained as a musician.

In 1937, Van Eyck arrived in New York via Havana, Cuba, and became acquainted with the composer Aaron Copland. This led to a collaboration, as well as solo efforts, as composer and lyricist on a variety of songs for revue and cabaret. He also moonlighted as a pianist in bars and nightclubs. Around this time, he also began to work as a stage manager and arranger for Irving Berlin. Not afraid to try any job that came along, he tried his hand at driving a truck, and this, somehow, led him to Hollywood where he became a protege of the director Billy Wilder. Wilder prompted him to appear in front of the camera. In 1943, Peter commenced his career in films, by this time, as a naturalized American citizen. For the remainder of the decade, he had little to do but act an assembly line of parts as German officers and Gestapo henchmen in films like Five Graves to Cairo (1943) and Address Unknown (1944).

After the war, Van Eyck returned to Germany, where he was ironically cast as an American officer in Hallo, Fräulein! (1949). He also appeared in the comedy Royal Children (1950) ,with Jenny Jugo), as yet another American. He gave one of his very best performances in the role of Bimba in Henri-Georges Clouzot's high octane thriller The Wages of Fear (1953). In this famous French classic, he played one of a group of daredevil truck drivers traversing an impenetrable South American jungle with a deadly load of nitroglycerin.

Down the track, he found other good roles: as the womanising Frenchman Fribert in Rosemary (1958); as a police inspector investigating a famous murder in Dr. Crippen lebt (1958),aka ('Dr.Crippen lives'); a starring role as Paul Decker, who attempts the perfect murder of his wife in The Snorkel (1958); and one of two industrialist brothers in Helmut Käutner''s The Rest Is Silence (1959).

During the 60's, Van Eyck appeared increasingly in international co-productions of variable quality. Having settled in Switzerland and maintaining a residence in Paris, he was ideally placed to alternate between French, English and German film roles. He made three potboilers about the master criminal Dr. Mabuse which were extremely popular in Germany. His best performances during this period were as the East German intelligence officer Mundt, who is the target of The Spy Who Came in from the Cold (1965) and as Colonel General von Brock in the absorbing war drama The Bridge at Remagen (1969), which was also his last film.

Van Eyck died near Zurich in July,1969, of septicemia, just short of his 58th birthday.

Poised and pretty lead and second lead actress Jane Randolph decorated a number of second-string World War II and post-war 1940's film features. Born Joan Roemer in Youngstown, Ohio on October 30, 1914, her father, a steel-mill designer, moved the family to Kokomo, Indiana when she was still quite young. Following her graduation from high school, she studied at Indiana's DePauw University, where she was a member of Kappa Alpha Theta. Jane's interest was acting was increasingly prodded during this time and in 1939, she decided to try her luck in Hollywood.

Studying at Max Reinhardt's school, she was eventually tested and picked up by Warner Bros in 1941. Publicized as a WWII pin-up in such Army magazines as Yank, and provided only in bit parts while there, such as a hatcheck girl in Manpower (1941), a singer who warbles the tune "What's New?" in the film Dive Bomber (1941) and a secretary in The Male Animal (1942), RKO Studios saw promise in the nascent actress. Picking up her contract in 1942, the studio immediately handed her two "B" leading lady roles -- as rich, naïve inventor Richard Carlson's love interest in the adventure comedy Highways by Night (1942) and spunky girl reporter Marcia Brooks in the Nazi espionage crime drama The Falcon's Brother (1942) opposite real-life brothers Tom Conway and George Sanders.

Over the years, brown-eyed, auburn-haired Jane would become best known for her benign, classy, but vulnerable femmes in film noir, easy comedy and whodunnits. Her best-remembered role was as poor, tormented co-worker Alice Moore in the atmospheric horror classic Cat People (1942) and its equally successful sequel, The Curse of the Cat People (1944). In both, Jane innocently brings out the revengeful claws of feral lady cat Simone Simon. At one point she was hired by the Disney people as a human model used for the ice-skating sequence with "Bambi" and "Thumper" in their classic film Bambi (1942).

As for subsequent filming, Jane would return to her intrepid girl reporter in The Falcon Strikes Back (1943), again with Conway. She was also featured in a poignant scene with lovely Jeanne Crain in the war-themed film In the Meantime, Darling (1944); is married to Nils Asther but in love with doctor John Loder in the film noir Jealousy (1945); involves herself with the Bowery Boys in Monogram Picture's In Fast Company (1946); played an attractive second lead distraction in the Universal adventure serial The Mysterious Mr. M (1946) and an equally attractive lead in the "Hopalong Cassidy" western entry Fool's Gold (1946).

Jane enjoyed a rare femme fatale role as a conniving beautician and girlfriend of cold-blooded mobster John Ireland in the film noir Railroaded! (1947). She finished her career in two other film noir thrillers, T-Men (1947) and Open Secret (1948), and joined Bud Abbott and Lou Costello in, arguably, their most popular Universal outing, the comedy chiller Abbott and Costello Meet Frankenstein (1948). Here, all three are menaced by the classic terror trio of Lon Chaney Jr.'s Wolfman, Bela Lugosi's Dracula and Glenn Strange's Frankenstein monster.

Divorced from talent agent Bert D'Armand, Jane married sometime producer Jaime del Amo on April 20, 1949, and retired to move to Spain and live the life of a socialite. In later years, following his death, she returned to Los Angeles, but also maintained a home in Gstaad, Switzerland. She died in Switzerland at age 94, of complications following surgery for a broken hip. She was survived by daughter, Cristina del Amo.

Patricia Highsmith was born on 19 January 1921 in Fort Worth, Texas, USA. She was a writer, known for The Talented Mr. Ripley (1999), Strangers on a Train (1951) and Carol (2015). She died on 4 February 1995 in Locarno, Switzerland.

Luisa Mattioli was born on 23 March 1936 in San Stino di Livenza, Veneto, Italy. She was an actress, known for The Night of the Great Attack (1959), La bella Lola (1962) and Romulus and the Sabines (1961). She was married to Roger Moore. She died on 5 October 2021 in Zurich, Switzerland.

Graham Greene was one of the greatest novelists of the 20th century and his influence on the cinema and theatre was enormous. He wrote five plays and almost all of his novels, including "Brighton Rock", "The Ministry of Fear" and "The End of the Affair", have been brought to the screen. A superb storyteller, he also wrote the screenplays for such classics as The Fallen Idol (1948) and The Third Man (1949).

A colorful and larger-than-life figure, Greene traveled widely throughout the world, from the jungles of Liberia to the Mexican desert to the Far East and the Soviet Union. In World War Two was a member of MI-6 (the British intelligence service) working with the double-agent Kim Philby, and he numbered among his friends such diverse personalities as Evelyn Waugh, Noël Coward and Panamanian dictator Gen. Omar Torrijos. A notorious womanizer, he married only once but had a string of extra-marital affairs and confessed he was "a bad husband and a fickle lover." During the 1920s and 1930s he confessed that he had had relationships with over 50 prostitutes.

Born in Hertforshire, England, in 1904, the son of the headmaster of Berkhamstead School, Greene was educated at Berkhamstead and later Oxford. At Oxford he published more than 60 poems and stories and soon after graduation converted to Roman Catholicism. "I had to find a religion to measure my evil against" he said. His first novel, "The Man Within", came out in 1929, to public and critical acclaim. "Stamboul Train" (1934), a topical political thriller, was the first to reach the screen (as Orient Express (1934)) and a string of other taut suspense dramas followed: "This Gun For Hire" (1942), "The Ministry of Fear" (1943) and "The Confidential Agent" (1945). It was his novel "Brighton Rock", however, which depicted Pinkie, a teenage gangster with demonic spirituality, that eventually became a milestone in British cinema. Originally a successful stage play starring Richard Attenborough as Pinkie, Greene co-wrote the 1947 screenplay Brighton Rock (1948)) with Terence Rattigan.

Greene's collaboration with director _Carol Reed' produced three distinctive films: The Fallen Idol (1948), starring Ralph Richardson, The Third Man (1949) and Our Man in Havana (1959). One of the peaks in British filmmaking, "The Third Man", starring Orson Welles as Harry Lime, was a skillful tale of deception and drug trafficking. Greene developed the screenplay from a single sentence: "I had paid my last farewell to Harry a week ago, when his coffin was lowered into the frozen February ground, so that it was with incredulity that I saw him pass by, without a sign of recognition, amongst a host of strangers in the Strand". The character of Harry Lime later inspired an American radio series starring Orson Welles, short stories published by the News of the World and the TV series The Third Man (1959), starring Michael Rennie. In Peter Jackson's Heavenly Creatures (1994). Kate Winslet fantasizes about Harry.

As well as writing novels, Greene reviewed films for "The Spectator", then for the short-lived "Night and Day", which folded after he was accused of a "gross outrage" on 'Shirley Temple (I)'--then nine years old--in his review of Wee Willie Winkie (1937). He wrote that "her admirers--middle-aged men and clergymen--respond to her dubious coquetry, to the sight of her well-shaped and desirable little body, packed with enormous vitality". In the view of the prosecuting counsel it was "one of the most horrible libels one could well imagine."

Greene was an intelligent and sophisticated playwright. His first play written directly for the stage was "The Living Room" (1953), a powerful drama of suicide and despair which starred Dorothy Tutin. It was followed by "The Potting Shed" (1957), a drama about an atheist's pact with God, and "The Complaisant Lover" (1959), a comedy of manners in which a husband and lover knowingly share a wife's favors, which starred Michael Redgrave. Many of his played were televised.

Greene's work continues to fascinate actors, filmmakers and cinema goers throughout the world. In 1973 Maggie Smith and Alec McCowen starred in "Travels With My Aunt" (Smith's role had originally been offered to Katharine Hepburn), Nicol Williamson and Ann Todd starred in The Human Factor (1979) and Ralph Fiennes and Julianne Moore starred in a remake of The End of the Affair (1999).

Greene said of his writing: "When I describe a scene . . . I capture it with the moving eye of the cine-camera rather than with the photographer's eye--which leaves it frozen. In this precise domain I think the cinema has influenced me."

Towards the end of his life Greene lived in Vevey, Switzerland, with his companion Yvonne Cloetta. He died there peacefully on April 13, 1991.

Carlo Ponti was born on 11 December 1912 in Magenta, Lombardy, Italy. He was a producer and production manager, known for Doctor Zhivago (1965), La Strada (1954) and Marriage Italian Style (1964). He was married to Sophia Loren and Giuliana Fiastri. He died on 10 January 2007 in Geneva, Switzerland.