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Maureen O'Hara (born Maureen FitzSimons; 17 August 1920 – 24 October 2015) was an Irish and American actress and singer. O'Hara was a famous redhead who was known for playing fiercely passionate but sensible heroines, often in westerns and adventure films. On numerous occasions, she worked with director John Ford and longtime friend John Wayne. O'Hara was one of the last surviving stars from the Golden Age of Hollywood. O'Hara grew up in Dublin in a Catholic family and aspired to become an actress from a very young age. She trained with the Rathmines Theatre Company from the age of 10 and at the Abbey Theatre from the age of 14. She was given a screen test, which was deemed unsatisfactory, but Charles Laughton saw potential and arranged for her to co-star with him in Alfred Hitchcock's Jamaica Inn in 1939. She moved to Hollywood the same year to appear with him in the production of The Hunchback of Notre Dame, and was given a contract by RKO Pictures. From there, she went on to enjoy a long and highly successful career, and acquired the nickname "The Queen of Technicolor". She appeared in films such as How Green Was My Valley (1941) (her first collaboration with John Ford), The Black Swan with Tyrone Power (1942), The Spanish Main (1945), Sinbad the Sailor (1947), the Christmas classic Miracle on 34th Street (1947) with John Payne and Natalie Wood, and Comanche Territory (1950). O'Hara made her first film with John Wayne, the actor with whom she is most closely associated, in Rio Grande (1950). This was followed by The Quiet Man (1952), The Wings of Eagles (1957), McLintock! (1963) and Big Jake (1971). Such was her strong chemistry with Wayne that many assumed they were married or in a relationship. In the 1960s O'Hara increasingly turned to more motherly roles as she aged, appearing in films such as The Deadly Companions (1961), The Parent Trap (1961) and The Rare Breed (1966). She retired from the industry in 1971 but returned 20 years later to appear with John Candy in Only the Lonely (1991). In the late 1970s, O'Hara helped run her third husband Charles F. Blair, Jr.'s flying business in St Croix in the American Virgin Islands, and edited a magazine, but later sold them to spend more time in Glengariff in Ireland. She was married three times, and had one daughter, Bronwyn with her second husband. Her autobiography, 'Tis Herself, was published in 2004 and became a New York Times Bestseller. In November 2014, she was presented with an Honorary Academy Award with the inscription "To Maureen O'Hara, one of Hollywood's brightest stars, whose inspiring performances glowed with passion, warmth and strength".

Born Joan de Beauvoir de Havilland on October 22, 1917, in Tokyo, Japan, in what was known as the International Settlement. Her father was a British patent attorney with a lucrative practice in Japan, but due to Joan and older sister Olivia de Havilland's recurring ailments the family moved to California in the hopes of improving their health. Mrs. de Havilland and the two girls settled in Saratoga while their father went back to his practice in Japan. Joan's parents did not get along well and divorced soon afterward. Mrs. de Havilland had a desire to be an actress but her dreams were curtailed when she married, but now she hoped to pass on her dream to Olivia and Joan. While Olivia pursued a stage career, Joan went back to Tokyo, where she attended the American School. In 1934 she came back to California, where her sister was already making a name for herself on the stage. Joan likewise joined a theater group in San Jose and then Los Angeles to try her luck there. After moving to L.A., Joan adopted the name of Joan Burfield because she didn't want to infringe upon Olivia, who was using the family surname. She tested at MGM and gained a small role in No More Ladies (1935), but she was scarcely noticed and Joan was idle for a year and a half. During this time she roomed with Olivia, who was having much more success in films. In 1937, this time calling herself Joan Fontaine, she landed a better role as Trudy Olson in You Can't Beat Love (1937) and then an uncredited part in Quality Street (1937). Although the next two years saw her in better roles, she still yearned for something better. In 1940 she garnered her first Academy Award nomination for Rebecca (1940). Although she thought she should have won, (she lost out to Ginger Rogers in Kitty Foyle (1940)), she was now an established member of the Hollywood set. She would again be Oscar-nominated for her role as Lina McLaidlaw Aysgarth in Suspicion (1941), and this time she won. Joan was making one film a year but choosing her roles well. In 1942 she starred in the well-received This Above All (1942). The following year she appeared in The Constant Nymph (1943). Once again she was nominated for the Oscar, she lost out to Jennifer Jones in The Song of Bernadette (1943). By now it was safe to say she was more famous than her older sister and more fine films followed. In 1948, she accepted second billing to Bing Crosby in The Emperor Waltz (1948). Joan took the year of 1949 off before coming back in 1950 with September Affair (1950) and Born to Be Bad (1950). In 1951 she starred in Paramount's Darling, How Could You! (1951), which turned out badly for both her and the studio and more weak productions followed. Absent from the big screen for a while, she took parts in television and dinner theaters. She also starred in many well-produced Broadway plays such as Forty Carats and The Lion in Winter. Her last appearance on the big screen was The Witches (1966) and her final appearance before the cameras was Good King Wenceslas (1994). She is, without a doubt, a lasting movie icon.

Louise was born on January 9, 1915, in New York City,[1] the daughter of Louis Fremault and Ann Fremault.[2] She attended the Professional Children's School.[3] She made her acting debut on Broadway at the age of seven, in Peter Ibbetson.[4] Within a year she was appearing regularly in Hollywood films. By her late teens, she was being cast in leading and supporting roles in major productions, and was highly regarded for her delicate features and blonde hair.[citation needed] At age seven, Louise appeared in the film Down to the Sea in Ships (1922).[5] She made her first credited screen debut at the age of nine in the film The Sixth Commandment (1924). In 1929, Louise dropped her Fremault surname, billing herself by her first and second names only. As her stature in Hollywood grew, she was named as a WAMPAS Baby Star, and was frequently described as one of cinema's most fashionable and stylish women.[according to whom?] Her reputation was further enhanced by her role as Hollywood society hostess, with her parties attended by the elite of Hollywood, and widely and regularly reported in the news media Among her film successes wereJust Like Heaven(1930 film) Madame Du Barry (1934), A Midsummer Night's Dream (1935), The Story of Louis Pasteur (1935), Anthony Adverse (1936), Marie Antoinette (1938), The Sisters (1938), and The Little Princess (1939). By the 1940s, she was reduced to mostly secondary roles and her film career started to slow. Some of her films during this time are Casanova Brown (1944), Nine Girls (1944), The Bandit of Sherwood Forest (1946), Blondie's Big Moment (1947), and Bulldog Drummond at Bay (1947). Her last appearance on the big screen was in the 1952 war film Retreat, Hell!. In 1950s. Louise was reduced to minor roles and acted very infrequently until the advent of television in the 1950s provided her with further opportunities. In middle age she played one of her most widely seen roles as the gentle mother, Nell McLaughlin, in the CBS television series My Friend Flicka from 1956–1957, with co-stars Johnny Washbrook, Gene Evans, and Frank Ferguson.[6] Louise was also the substitute host of The Loretta Young Show (1953) when Loretta Young was recuperating from surgery.[citation needed] In 1957, she was host of Theater Time on ABC-TV.[6]:1068 Other shows Anita hosted include The United States Steel Hour ( Louise virtually retired after My Friend Flicka, which was rebroadcast thereafter for a generation. Her husband, film producer Buddy Adler, whom she had married on May 18, 1940,[4] died in 1960.[1] They had two children. She married Henry Berger in 1962. Louise died of a stroke on April 25, 1970, in West Los Angeles, California. She was buried next to Adler at the Forest Lawn Memorial Park in Glendale, California.[7] She was 55 years old. 1962) and Playhouse 90 (1957). Her last television appearance was in a 1970 episode of the Mod Squad.

Marion Cecelia Douras was born in the borough of Brooklyn, New York on January 3, 1897. She had been bitten by the show biz bug early as she watched her sisters perform in local stage productions. She wanted to do the same. As Marion got older, she tried out for various school plays and did fairly well. Once her formal education had ended, Marion began her career as a chorus girl in New York City and eventually found herself in the famed Ziegfeld Follies. But she wanted more than to dance. Acting, to Marion, was the epitome of show business and aimed her sights in that direction. Her first film was Runaway Romany (1917) when she was 20. Written by Marion and directed by her brother-in-law, the film wasn't exactly a box-office smash, but for Marion, it was a start and a stepping stone to bigger things. The following year Marion starred in three films, The Burden of Proof (1918), [error], and Cecilia of the Pink Roses (1918). The latter film was backed by newspaper magnate, William Randolph Hearst, with whom Marion would continue a long-term romantic relationship for the next 30 years. Because of Hearst's newspaper empire, Marion would be promoted as no actress before her. She appeared in numerous films over the next few years, with The Cinema Murder (1919) being one of the most suspenseful. In 1922, Marion appeared as Mary Tudor in the historical romantic epic, When Knighthood Was in Flower (1922). It was a film into which Hearst poured in millions of dollars as a showcase for her. Although Marion didn't normally appear in period pieces, she turned in a wonderful performance and the film turned a profit. Marion remained busy, one of the staples in movie houses around the country. At the end of the twenties, it was obvious that sound films were about to replace the silents. Marion was nervous because she had a stutter when she became excited and worried she wouldn't make a successful transition to the new medium, but she was a true professional who had no problem with the change. Time after time, film after film, Marion turned in masterful performances. In 1930, two of her better films were Not So Dumb (1930) and The Florodora Girl (1930). By the early 30s, Marion had lost her box office appeal and the downward slide began. Had she been without Hearst's backing, she possibly could have been more successful. He was more of a hindrance than a help. Hearst had tried to push MGM executives to hire Marion for the role of Elizabeth Barrett in The Barretts of Wimpole Street (1934). Louis B. Mayer had other ideas and hired producer Irving Thalberg's wife, Norma Shearer instead. Hearst reacted by pulling his newspaper support for MGM without much impact. By the late 1930's Hearst was suffering financial reversals and it was Marion who bailed him out by selling off $1 million of her jewelry. Without her the Hearst Corporation might not be where it is today. Hearst's financial problems also spelled the end to her career. Although she had made the transition to sound, other stars fared better and her roles became fewer and further between. In 1937, a 40 year old Marion filmed her last movie, Ever Since Eve (1937). Out of films and with the intense pressures of her relationship with Hearst, Marion turned more and more to alcohol. Despite those problems, Marion was a very sharp and savvy business woman. After the death of Hearst in 1951, Marion married for the first time at the age of 54, to Horace Brown. The union would last until she died of cancer on September 22, 1961 in Los Angeles, California. She was 64 years old.

eronica Lake was born as Constance Frances Marie Ockleman on November 14, 1922, in Brooklyn, New York. She was the daughter of Constance Charlotta (Trimble) and Harry Eugene Ockelman, who worked for an oil company as a ship employee. Her father was of half German and half Irish descent, and her mother was of Irish ancestry. While still a child, Veronica's parents moved to Florida when she was not quite a year old. By the time she was five, the family had returned to Brooklyn. When Connie was only twelve, tragedy struck when her father died in an explosion on an oil ship. One year later her mother married Anthony Keane and Connie took his last name as her own. In 1934, when her stepfather was diagnosed with tuberculosis, the family moved to Saranac Lake, where Connie Keane enjoyed the outdoor life and flourished in the activities of boating on the lakes, skating, skiing, swimming, biking around Moody Pond and hiking up Mt Baker. The family made their home in 1935 at 1 Watson Place, (now 27 Seneca Street) then they moved to 1 Riverside Drive,(now Lake Kiwassa Road). Both Connie and Anthony benefited from the Adirondack experience and in 1936 the family left the Adirondacks and moved to Miami, FL., however, the memories of those carefree Saranac Lake days would always remain deeply rooted in her mind. Two years later, Connie graduated from high school in Miami. Her natural beauty and charm and a definite talent for acting prompted her mother and step-father to move to Beverly Hills, California, where they enrolled her in the well known Bliss Hayden School of Acting in Hollywood. Connie had previously been diagnosed as a classic schizophrenic and her parents saw acting as a form of treatment for her condition. She showed remarkable abilities and did not have to wait long for a part to come her way. Her first movie was as one of the many coeds in the RKO film, Sorority House (1939) in 1939. It was a minor part, to be sure, but it was a start. Veronica quickly followed up that project with two other films. All Women Have Secrets (1939) and Dancing Co-Ed (1939), both in 1939, were again bit roles for the pretty young woman from the East Coast, but she did not complain. After all, other would-be starlets took a while before they ever received a bit part. Veronica continued her schooling, in 1940, while taking a bit roles in two more films, Young as You Feel (1940) and Forty Little Mothers (1940). Prior to this time, she was still under her natural name of Constance Keane. Now, with a better role in 1941's I Wanted Wings (1941), she was asked to change her name and Veronica Lake was born. Now, instead of playing coeds, she had a decent, speaking part. Veronica felt like an actress. The film was a success and the public loved this bright newcomer. Paramount, the studio she was under contract with, then assigned her to two more films that year, Hold Back the Dawn (1941) and Sullivan's Travels (1941). The latter received good reviews from the always tough film critics. As Ellen Graham, in This Gun for Hire (1942) the following year, Veronica now had top billing. She had paid her dues and was on a roll. The public was enamored with her. In 1943, Veronica starred in only one film. She portrayed Lieutenant Olivia D'Arcy in So Proudly We Hail! (1943) with Claudette Colbert. The film was a box-office smash. It seemed that any film Veronica starred in would be an unquestionable hit. However, her only outing for 1944, The Hour Before the Dawn (1944) would not be well-received by either the public or the critics. As Nazi sympathizer Dora Bruckmann, Veronica's role was dismal at best. Critics disliked her accent immensely because it wasn't true to life. Her acting itself suffered because of the accent. Mediocre films trailed her for all of 1945. It seemed that Veronica was dumped in just about any film to see if it could be salvaged. Hold That Blonde! (1945), Out of This World (1945), and Miss Susie Slagle's (1946) were just a waste of talent for the beautiful blonde. The latter film was a shade better than the previous two. In 1946, Veronica bounced back in The Blue Dahlia (1946) with Howard Da Silva. The film was a hit, but it was the last decent film for Veronica. Paramount continued to put her in pathetic movies. After 1948, Paramount discharged the once prized star and she was out on her own. In 1949, she starred in the Twentieth Century film Slattery's Hurricane (1949). Unfortunately, another weak film. She was not on the big screen again until 1952 when she appeared in Stronghold (1951). By Veronica's own admission, the film "was a dog." From 1952 to 1966, Veronica made television appearances and even tried her hand on the stage. Not a lot of success for her at all. By now alcohol was the order of the day. She was down on her luck and drank heavily. In 1962, Veronica was found living in an old hotel and working as a bartender. She finally returned to the big screen in 1966 in Footsteps in the Snow (1966). Another drought ensued and she appeared on the silver screen for the last time in 1970's Flesh Feast (1970) - a very low budget film. On July 7, 1973, Veronica died of hepatitis in Burlington, Vermont. The beautiful actress with the long blonde hair was dead at the age of 50.