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A minor prototype of the "Runyon-esque" character for more than three decades, Polish-born actor George E. Stone (né Gerschon Lichtenstein, on May 18, 1903) was, in actuality, a close friend of writer Damon Runyan and would play scores of colorful "dees, dem and dos" cronies throughout the 1920s, '30s, and '40s. With great names such as Johnnie the Shiek, Boots Burnett, Ice Box Hamilton, Wires Kagel, Ropes McGonigle, Society Max, and Toothpick Charlie, Stone delighted audiences in scores of crimers for decades.

A vaudeville and Broadway hoofer in the interim, the runt-sized Stone (5'3") finally scored in his first "grownup" part as the Sewer Rat in the silent drama 7th Heaven (1927) starring the once-popular romantic pair Charles Farrell and (Academy Award winner) Janet Gaynor. As "Georgie" sounded too child-like, he began billing himself as "George E. Stone." From there he was featured in a number of "tough guy" potboilers, particularly for Warner Bros. So typed was he as a henchman or thug, that he found few films outside the genre. His gunsels often possessed a yellow streak and could be both broadly comic or threatening in nature, with more than a few of them ending up on a morgue slab before film's end, including his Earl Williams on The Front Page (1931) and Otero in the classic gangster flick Little Caesar (1931).

Included in George's many films were a number of Oscar-quality pictures , including The Racket (1928), Cimarron (1931), Five Star Final (1931), 42nd Street (1933), Viva Villa! (1934), Anthony Adverse (1936), North West Mounted Police (1940), Pickup on South Street (1953), The Robe (1953), Broken Lance (1954), The Man with the Golden Arm (1955), Guys and Dolls (1955), Some Came Running (1958), Some Like It Hot (1959), Pocketful of Miracles (1961). Arguably, Stone's most popular, if not prolific, role was when he replaced Charles Wagenheim as The Runt in the second of the "Boston Blackie" film series, Confessions of Boston Blackie (1941) that starred Chester Morris as the title detective. The series lasted eight years.

Suffering from failing eyesight in later years, George was virtually blind by the late 1950s but, thanks to friends, managed to secure sporadic film and TV work. From 1958 on, Stone could be glimpsed in a recurring role on the popular courtroom series Perry Mason (1957) as a court clerk. Married to second wife Marjorie Ramey in 1946, 64-year-old George died following a stroke on May 26, 1967 in Woodland Hills, California, and was survived by two sisters.

Pola Negri was born in Lipno, Poland, and moved to Warsaw as a child. Living in poverty with her mother, a teenage Pola auditioned and was accepted to the Imperial Ballet. Due to an illness that ended her dancing career, she soon switched to the Warsaw Imperial Academy of Dramatic Arts and became an actress. By 17 she was a star on the Warsaw stage, but World War I would soon change the theater scene. Without the theater, Pola turned to films. With her new career in pictures and her stage success in "Sumurun", she went to Berlin and was teamed with German director Ernst Lubitsch. The Lubitsch-Negri combination was very successful and the roles that Pola played were earthy, exotic, strong women. One of her films, Passion (1919), was optioned and retitled "Passion" for exhibition in America. The film was such a success that by 1922 she and Lubitsch were both given contracts to work in Hollywood. While her first few films showed some success, they were overshadowed by her reported romances with such stars as Charles Chaplin and Rudolph Valentino. Forbidden Paradise (1924), made with Lubitsch, and Hotel Imperial (1927) were two of her more successful films. However, three things conspired to end her career in Hollywood: (1) The perception that her mourning for Rudolph Valentino was insincere, though Negri did describe him as the love of her life; (2) The Hays Office codes that would not allow her to show the very traits that made her a sex-siren in Europe; (3) Her thick Polish accent would not play in the sound pictures that were coming into vogue.

Pola Negri returned to Europe and eventually made films for UFA, which was under Nazi management. In 1941 she returned to America penniless. She made Hi Diddle Diddle (1943) and became an American citizen in 1951. Her next and last movie was The Moon-Spinners (1964).

She died of pneumonia in San Antonio, TX, in 1987.

John Bleifer was born on 26 July 1901 in Zawiercie, Poland, Russian Empire [now Zawiercie, Slaskie, Poland]. He was an actor, known for Les Misérables (1935), Pacific Liner (1939) and Red Snow (1952). He was married to Grace Klestick. He died on 24 January 1992 in Los Angeles County, California, USA.

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

Frédéric François Chopin was born Fryderyk Franciszek Chopin, on March 1, 1810, in Zelazowa Wola, Masovia region, Duchy of Warsaw, Poland. His father, named Mikolaj (Nicolas) Chopin, was a Frenchman who came to Poland from Lorraine, and eventually became professor at Warsaw Lyceum. His mother, named Tekla Justina Krzyzanovska, was a relative of Polish Countess Ludwika Skarbkowa, owner of the Zelazowa Wola estate.

From 1816-1822 Chopin studied piano under professional musician Wojcech Zywny. He wrote his first piano compositions at the age of 7. In 1820, then ten-year-old Chopin moved with his parents to Warsaw. There he gained a reputation as a "second Mozart" for his piano playing. From 1823-1826 Chopin studied at the Warsaw Lyceum. In 1824 he was influenced by the Jewish folklore and composed Mazurka in A minor, called "The Jewish" by Chopin himself. From 1826-1830 he studied at the Warsaw Conservatory under pianist Wilhelm Wurfel and composer Josef Elsner. In 1829 Chopin attended a performance of Niccolò Paganini in Warsaw. In the same year Chopin gave solo concerts in Vienna and premiered his Piano Concerto No.1 in F minor. In 1830 he premiered his Piano Concerto No.2 in E minor at the National Theatre in Warsaw. He visited Vienna again in November of same year and played his two piano concertos with great success. After Vienna he continued his concert tour to Munich and Stuttgart. There he learned of the invasion of the Russian Army in Poland, and composed the Etude in C minor, called Revolutionary. Chopin chose the status of a political exile and finally emigrated to Paris, France.

From 1830-1849 Chopin established himself as composer and piano player in Paris. There he changed his name into Frédéric François Chopin. In Paris he met Franz Liszt, who initiated a friendship, and they played together in several concerts, but later became rivals. Chopin formed personal friendship with composer and critic Hector Berlioz. His other personal friends were Felix Mendelssohn and Vincenzo Bellini. In 1835 he made a trip to Dresden and Karlsbad, where he visited with his relatives and accompanied them to Poland. He became seriously ill with bronchial asthma on his way back to Paris. In 1836 he proposed to a seventeen-year-old Polish girl, named Maria Wodzinska, and she accepted. Their engagement lasted for several months, but was called off in 1837 by her mother after a certain manipulative influence by George Sand.

In October of 1836, in Paris Chopin met George Sand at a party hosted by Marie d'Agoult, mistress of Franz Liszt. Initially Chopin commented on Sand: "What an antipathetic woman". In June of 1837 Sand wrote in a letter to her friend about her agenda to abandon another affair in order to start a relationship with Chopin. George Sand was strongly attracted to Chopin, she destroyed his engagement to Maria Wodzinska, and dominated his life for nine years. Chopin and Sand had a turbulent relationship. In 1839, during their first winter vacation together on Mallorca, Sand took along her children from her previous marriage. At Mallorca Chopin did not have a decent piano to practice, while he was composing his 'Raindrop' prelude. Sand witnessed the completion of Chopin's greatest masterpiece, the cycle of 24 Preludes. He had to struggle with a poor rental piano and became unhappy and fell ill, but received little help from local doctors. Later Chopin enjoyed a better environment at Sand's estate in Nohant. There his creativity flourished during the summers of 1839 until 1843. At that time Chopin composed many important works. However, Chopin and Sand were not a good match, and eventually their differences prevailed. Sand was a pipe smoker and a flamboyant party goer. Chopin suffered from bronchial asthma and tuberculosis and needed a quiet solitude for his music. In George Sand's violent quarrel with her daughter Solange, Chopin defended the daughter. Sand left Chopin.

In February of 1848 Chopin gave his last concerts in Paris. He went to England and Scotland in November of 1848, and fell ill there. He gave his last concerts in London while being severely ill. He returned to Paris, but was unable to teach or perform for several months during 1849. Shortly before he died, sensing the end was near, Chopin had requested that Requiem by Wolfgang Amadeus Mozart be sung at his funeral service at the Church of the Madeleine. He also requested that his heart be removed and brought in an urn to Warsaw, Poland. Chopin died on October 17, 1849, but could not be buried for two weeks, because the church did not allow female singers for the Mozart's Requiem. At last, the church relented and the funeral was held on October 30, 1849. A crowd of four thousand attended the ceremony. Composer Berlioz, artist Delacroix, poet Adam Mickiewicz, singer Viardot, were present among many others from cultural circles - but notably absent was George Sand. Chopin's heart was dispatched in an urn to Warsaw, and his body was laid to rest in the Pere Lachaise cemetery in Paris, France.

Dziga Vertov was born on 2 January 1896 in Bialystok, Grodno Governorate, Russian Empire [now Podlaskie, Poland]. He was a director and writer, known for Man with a Movie Camera (1929), Three Songs About Lenin (1934) and The Sixth Part of the World (1926). He was married to Elizaveta Svilova. He died on 12 February 1954 in Moscow, RSFSR, USSR [now Russia].

Polish-born Meyer Lansky emigrated to New York with his family and grew up in the Lower East Side. It was there that he ran into Bugsy Siegel, at the time a teenaged neighborhood gangster, and the two would remain lifelong friends. When Lansky saw the kinds of money Siegel was making from his various illegal activities--mainly gambling--he decided that this was the line of work for him. His specialty was the floating crap game, and he was so successful at that and other gambling schemes that he and Siegel soon controlled a large gang that was known as the Bugs and Meyer Mob. The gang's size, and Lansky's business acumen, attracted the attention of another local gangster, Lucky Luciano, who approached Lansky and invited him to participate in his idea of forming a national criminal syndicate. The Prohibition Era was a goldmine for Lansky and other gangsters, and he, Siegel and Luciano became incredibly wealthy from bootlegging, prostitution, drug smuggling, gambling and other rackets. In the 1930s Luciano's dream of a national crime commission became a reality, and Lansky was appointed to a seat on its board of directors. Lansky's specialty was financial matters and he proved to be a genius at laundering the mob's illegal profits and squeezing every last penny from its legal and illegal investments. When his friend Luciano was sent to prison, Lansky managed to get him an early release by ensuring his cooperation with the U.S. government in its preparation for the invasion of Sicily. After Luciano was deported to Italy, Lansky took over the management of his empire. Friendship only went so far in the mob, however. His good friend Siegel got into trouble by wasting millions of dollars of "wiseguy" money building Las Vegas, and when the decision was made to have him killed, Lansky went along with it.

In the 1950s Lansky formed a friendship with Cuban dictator Fulgencio Batista, and the mob was given basically a blank check to run all the rackets in Cuba, especially the gambling casinos, prostitution and drug smuggling, with a large cut of the profits going to Batista. From Cuba Lansky spread his gambling and prostitution rackets to other South American countries, and even had a hand--although not a public one--in the casinos in Hong Kong and Macao. Lansky's fortunes began to wane, however, in the late 1960s when the U.S. government went after him for income tax evasion. He fled to Israel, and claimed citizenship there as a returning Jew. However, after legal wrangling with the Israeli government, Lansky's visa was revoked and he was deported back to the U.S. He stood trial, but managed to avoid conviction, reportedly because of his extensive political connections. He settled into a comfortable life in Miami, Florida, where he died of a heart attack in 1983.

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

Kurt Katch was born on 28 January 1896 in Grodno, Poland, Russian Empire [now Hrodna, Belarus]. He was an actor, known for The Seventh Cross (1944), The Mask of Dimitrios (1944) and The Mummy's Curse (1944). He was married to Hinda Ryfka Kleinlerer. He died on 14 August 1958 in Los Angeles, California, USA.

Wladyslaw Szpilman was born in 1911 in Sosnowiec. On leaving school, he went to Warsaw to study music (piano) in the Chopin School of Music, under Professor Jozef Smidowicz, and later, under Professor Aleksander Michalowski (both scholars of Franz List). In 1931 he went to Berlin to the Academy of Music studying under Professor Leonid Kreutzer and Arthur Schnabel (piano) and Professor Franz Schreker (composition). At this time he wrote his Violin Concerto, Piano Suite "Zycie Maszyn" (The Life of Machines), Concertino for piano with Orchestra, many works for piano and violin and also some songs. In 1935 Szpilman entered the Polish Radio, where, except during the war, he worked until 1963. In 1946, he published his book "Death of a City" - memories from 1939 to 1945. Since 1945, Szpilman has appeared in concerts as a soloist and with chamber groups in Poland, throughout Europe and in America. He and Bronislav Gimpel formed a very successful piano duet in 1932, which grew in 1962 to the Warsaw Piano Quintet, that performed about 2,500 concerts until 1987 worldwide, with the exception of Australia. In 1936 he also started his career as a composer of songs (about 500). About 150 of them were in Poland's pop charts and they are "evergreens" of Polish pop music culture to this day. In the 50s he wrote also about 40 songs for children, for which he received in 1955 the award of the Polish Composers Union. He also wrote many orchestral pieces (ballet, Small Overture, etc.), musicals, music for children's theater and music for about 50 children's radio broadcasts, as well as film music: "Wrzos" (1937); "Dr. Murek" (1939); "Pokoj Zwyciezy Swiat" (1950); "Call My Wife" (1957), and others. In 1961, he initiated and organized the Sopot International Song Festival in Poland, and also founded the Polish Union of Authors of Popular Music. In 1964, he became a member of Presidium of Polish Composers Union, and ZAIKS (Polish ASCAP). In April 1998, his book "Death of the City" will be published by ECON Verlag, a leading German publisher, with commentary by a famous German writer and poet: Wolf Biermann.

Wolfe Barzell was born on 1 September 1897 in Staszów, Poland, Russian Empire [now Staszów, Swietokrzyskie, Poland]. He was an actor, known for Atlantis: The Lost Continent (1961), Frankenstein's Daughter (1958) and The Blue Angel (1959). He died on 14 February 1969 in Acapulco, Mexico.

Baruch Lumet was born on 16 September 1898 in Warsaw, Poland, Russian Empire [now Warsaw, Mazowieckie, Poland]. He was an actor and casting director, known for The Killer Shrews (1959), The Pawnbroker (1964) and Everything You Always Wanted to Know About Sex * But Were Afraid to Ask (1972). He was married to Eugenia Wermus. He died on 8 February 1992.

Jean Epstein was born on 25 March 1897 in Warsaw, Poland, Russian Empire [now Warsaw, Mazowieckie, Poland]. He was a director and writer, known for The Fall of the House of Usher (1928), Mauprat (1926) and Le lion des Mogols (1924). He died on 2 April 1953 in Paris, France.

Inventing a stage name "Boleslawski" (later spelled also "Boleslavsky"), young Pole Boleslaw Ryszard Srzednicki left his second home (Odessa, Russian Empire) to study theatre and train as an actor at the world-famous Moscow Art Theatre before and during WW I. He also acted in a few early Russian films. In the chaotic wake of the Russian Revolution, Civil War and then Soviet Russia's war with Poland (1918-21)--in which Boleslawski fought as a Polish soldier--he left Russia forever, traveling through Poland and Germany, and wound up in the US. In the 1920s he became, along with Maria Ouspenskaya, one of the first teachers in the US of the serious, emotionally grounded, ensemble style of the Moscow Art Theatre (later known as "The Method"). To put his thespian theories into action, Boleslawski created the American Laboratory [Stage] Theatre in New York in 1923 (the forerunner of the Group Theatre of the 1930s and the Actors Studio" after WW II).

Boleslawski also wrote serious theoretical articles about acting for "Theatre Arts Magazine", and in 1933 collected them in a book, "Acting--The First Six Lessons". The coming of sound to motion pictures, and the financial collapse of the American Laboratory Theatre, forced Boleslawski to abandon the New York stage and accept an offer to direct films in Hollywood, beginning in 1929. He made several important films at major studios like MGM and Fox before his premature death in January 1937. Among his most important directing assignments were Rasputin and the Empress (1932) (the only film in which John Barrymore, Lionel Barrymore and Ethel Barrymore appeared together), Men in White (1934) (Clark Gable and Myrna Loy), The Painted Veil (1934) (Greta Garbo), Les Misérables (1935) (Fredric March and Charles Laughton) and Theodora Goes Wild (1936) (Irene Dunne)--a wide range of genres. He even directed a musical, Metropolitan (1935) (Lawrence Tibbett) and a western, Three Godfathers (1936) (Chester Morris).

Boleslawski was married at least three times. From his last marriage--to pianist-actress Norma Drury--he had one child, a son named Jan (1935-1962) who tragically was to lose his father before he was two years old, and later to lose his own life at the tender age of 27. Boleslawski's death of cardiac arrest, at age 47--before he had completed his final film (The Last of Mrs. Cheyney (1937) with Joan Crawford)--was shockingly sudden and from unclear causes. One explanation, probably incorrect, traces his illness to his penultimate film, The Garden of Allah (1936) (with Marlene Dietrich), the exteriors of which were shot in the burning heat of the southwestern American desert. At some point, it is claimed, he unwisely "drank [unboiled] water" rather than soft drinks and bottled water (as the company had been advised to do).

The multi-faceted Polish-born performer Lili Valenty appeared in a dozen or so Broadway plays in the 30s, 40s and 50s, then went on to enliven a number of routine on-camera projects in her twilight years. Born at the turn of the century, she received her start on the German stage where she became a star. In the early 1930s she emigrated to America and tried to parlay her European success into stardom here. Although she fell quite short, she did launch a moderately successful career on both radio and the Broadway stage. Some of her NY theater productions included "Bitter Stream" (her debut) 1936, "Cue for Passion" (1940), "The Land Is Bright" (1941), "Sky Drift" (1945), and "Now I Lay Me Down to Sleep" (1950). In 1955 she was a replacement in the role of Baroness Livenbaum in the successful Broadway production of "Anastasia" starring Viveca Lindfors and Eugenie Leontovich, which later went on tour. Lili later transitioned into the film and TV mediums, predominantly in decorative fluff unworthy of her talents. Although she made her film debut in support of Anna Magnani in the melodrama Wild Is the Wind (1957), she continued rather inauspiciously from there with a minor dowager role in Can-Can (1960), and typical ethnic parts in The Story of Ruth (1960), the Troy Donahue / Suzanne Pleshette romantic excursion Rome Adventure (1962), one of Elvis Presley's weaker vehicles Girls! Girls! Girls! (1962), and the Jayne Mansfield "comedy" It Happened in Athens (1962). Sometimes billed as "Lili Valenti", she appeared sparingly after this as various mamas, madames, gypsies, nuns, ballet teachers, and the like on episodic TV. She died in Los Angeles in 1987 at age 86 and left no survivors.

Boris Kaufman, the Oscar-winning cinematographer who shot Jean Vigo's oeuvre and helped introduce a neo-realistic style into American films, was born on August 24, 1897, in Bialystok, Poland, then part of the Russian Empire. The youngest son of librarians, the Soviet directors Denis Kaufman (a.k.a. Dziga Vertov, meaning "Spinning Top") and Mikhail Kaufman were his older brothers. Dziga Vertov was one of the great innovators in Soviet cinema, the father of the agit-prop film, who directed Man with a Movie Camera (1929), and his brother Boris imitated his beloved camera tricks when he shot the documentary À Propos de Nice (1930) for Vigo.

The Kaufmans' parents decided to move to Moscow at the outbreak of the First World War in 1914, and Denis went to school in St. Petersburg. In 1917, Russia experienced two revolutions, one which overthrew the Czar and the later, the "October" Revolution, which overthrew the bourgeois democracy and established the Bolshevik Party as the new rulers of what they called the Union of Soviet Socialist Republics. Denis and his brother Mikhail were enamored of the October Revolution and volunteered their services as filmmakersto the new socialist state.

During the revolutionary period, Kaufman's parents moved back to Poland, which after World War I and the Treaty of Versailles, became independent from the Soviet Union. They took along Boris, who was much younger than his brothers. Poland and the Soviet Union eventually fought a border war, and the young Kaufman's parents sent him to Paris to be educated. Their son Denis, now Dziga Vertov, whose new name connoted the speed of the new medium and of his new life as a revolutionary artist, as well as the revolutions of a film reel, become a cinema philosopher as well as director. Dziga Vertov issued manifestos calling for filmmakers to take a formative role in shaping the new socialist order, replacing "dream films" with movies articulating "Soviet actuality."

Boris Kaufman, who eventually emigrated to France in 1927, later credited his brother Mikhail with his education as a cameraman. "Mikhail taught me cinematography by mail," he told Columbia University Professor Erik Barnouw.

After the Kaufman brothers' parents died, Mikhail had taken on a paternal responsibility for Boris, writing him regularly, and informing him about his film work. Though the brothers never met again after 1917, they did stay in touch via the mails throughout their lives. Boris viewed his brother's films in Paris and was drawn to similar work with Jean Vigo.

A photographer himself, Vigo had acquired a movie camera in order to make films, but he couldn't master it. Vigo had the great luck of meeting and collaborating with Kaufman, who was to evolve into one of the masters of black-and-white cinematography. It was Kaufman who is responsible for the wintry style of L'Atalante (1934), Vigo's sole feature film, as well as the imagery of his other filmed worked, such as Zero for Conduct (1933). As a cinematographer, Kaufman was instrumental in helping Vigo realize his vision on film. The films Kaufman shot for Vigo are both romantic and surreal, infused with a dream-like quality.

Vigo, a consumptive, died of tuberculosis in October 1934, ending their great collaboration that had started with À Propos de Nice (1930), and had continued with the documentary about the swimmer Jean Taris, Taris (1931). The latter documentary featured underwater visuals captured by Kaufman that underscored the dreamy quality of swimming, of being underwater. Vigo and Kaufman enhanced this dreaminess by utilizing slow-motion photography, to serve as correlative for the natural slowing of the body in swimming and to elucidate the glow of skin under water.

The collaborators moved on to fiction with Zero for Conduct (1933), a short film drawn from Vigo's memories of an authoritarian boarding school. The movie influenced the directors of the French New Wave, particularly François Truffaut and his The 400 Blows (1959), and was the inspiration for Lindsay Anderson's If.... (1968). The great classic "L'Atalante" (1934) finished up the collaboration, one of the greatest between a director and a cinematographer. The realization of Vigo's genius would have been unthinkable without Kaufman.

Kaufman shot Lucrezia Borgia (1935) for Abel Gance, but with the passing of Vigo, he temporarily lost his direction. He shot two shorts for the avant-garde director Dimitri Kirsanoff and was the director of photography on four films with director Léo Joannon.

After serving in the French Army during the sitzkrieg and the Battle of France, Kaufman emigrated to Canada as a war refugee. He was hired by John Grierson to be a cameraman for the National Film Board of Canada. Kaufman moved to the United States in 1942, where he eventually became a citizen. Locked out of feature work by the guild system, Kaufman supported himself shooting short subjects and documentaries before Elia Kazan chose him to shoot On the Waterfront (1954). The Kazan film, for which Kaufman won an Academy Award for cinematography, was his first American feature.

Kazan had wanted Kaufman, with his roots in the documentary, as a collaborator as he planned to inject realism on the order of the Italian neo-realists into American film. Kazan, in his autobiography "A Life" says it was his collaboration with Kaufman that taught him that cinematographers were artists in their own right. (Interestingly, being a former Russian/Soviet citizen and the brother of two prominent Soviet directors, Kuafman was under suspicion during the Cold War of communist sympathies. It was likely that his correspondence with his brother in the USSR was read by U.S. intelligence agents. His lack of career progression until Kazan picked him to shoot On the Waterfront (1954) may have been a result of anti-red paranoia. Thus, only someone like Kazan -- one of the few directors, and the most prominent filmmaker to testify as a friendly witness before the Houe Un-American Activities Committee -- having established his anti-communist credentials, could have employed Boris Kaufman during the height of the post-World War II Red Scare. And, of course, the film Kaufman shot for Kazan is a not-so-thinly veiled anti-communist apologia for informing.)

Kaufman also photographed Baby Doll (1956) (for which he received a second Oscar nomination) in B+W and Splendor in the Grass (1961) in color for Kazan. He was the director of photography on Sidney Lumet's first film, 12 Angry Men (1957), and he also shot The Fugitive Kind (1960), Long Day's Journey Into Night (1962) and the gritty The Pawnbroker (1964) for Lumet, all in B+W.

Interestingly, Kaufman shot the landmark nudist film Garden of Eden (1954), which led to a U.S. Supreme Court decision (Excelsior Pictures Corp. v. Regents of University of New York State), in which the majority held that the film was not obscene or indecent, and that nudity was not itself obscene. A decade later, he shot Nobel Prize-winning author Samuel Beckett's sole foray into film, Film (1965), which was directed by Alan Schneider from Beckett's screenplay. These two movies are testimonials to his adventuresome and iconoclastic spirit, rooted in the experimental cinema.

Boris Kaufman retired in 1970, after shooting for Tell Me That You Love Me, Junie Moon (1970) for Otto Preminger. He died on June 24, 1980, in New York, New York.

Jan Kiepura, the son of a baker, was born in 1902 in the gloomy mining town of Sosnowiec, now in Poland, but situated in Russia at that time. He left his native town, that - although dirty and dark - would always remain dear to his heart, for Warsaw, where he started studying law. At the same time he took singing lessons with Waclaw Brzesinsky and Tadeusz Leliwa. He soon realized that singing was his real vocation and was lucky to benefit from the support of his parents, who understood how talented he was in this field. At age 23, Jan was hired for the first time, as a replacement in the choir of the Warsaw Opera, but he sang so loud that his voice covered all the other ones, which resulted in his being fired. However, three months later, he found himself on the same stage, but in the right place this time, as the lead singer of Gounod's "Faust". This outstanding performance marked the beginning of a rapid rise: from then on, Jan Kiepura was wanted everywhere in the world. In addition,it was not long before the cinema - now talking - required his beautiful voice and his good looks. As of the early thirties he starred in a series of filmed operettas. It was on the set of "Mein Herz ruft nach dir" that he met the woman of his life, Hungarian-born Marta Eggerth, another star singer, with whom he lived until his death in 1966 and who gave him two sons. In March '38, the couple fled Austria and took refuge in the South of France. The following year, he joined the French Polish Legion and shortly after the Phoney War, he was assigned the mission to defend the cause of invaded Poland in the States. He found Marta there and after the end of the War they teamed together on Broadway where they co-starred in "The Merry Widow" and "La Polonaise". In 1953, Jan and Marta settled down in the USA for good and Jan acquired American citizenship shortly afterwards. But his career quickly declined and, at the age of 64, he died of a heart attack in his New York State home.

Miliza's father was Arthur Korjus, a lieutenant colonel in the Imperial Russian Army and later Chief of Staff to the War Minister of Estonia. The Estonian branch of her family was of Swedish descent, having settled in Estonia during the middle of the seventeenth century when the country was ruled by Sweden. The original Swedish spelling of the family name was "Corjus" but later came to be spelled "Korjus" in Estonian. Miliza's mother was Anna Gintowt, who was descended from Lithuanian-Polish nobility. Miliza was the fifth of six children (she had one brother, and four sisters). Her mother and father separated during World War I and in 1918 she moved to Kiev with her mother and sisters. Miliza received her musical education at the Kiev Conservatory.

While still in her teens, she joined the Dumka Chorus in Kiev and toured the Soviet Union. During a visit to Leningrad in 1927, she crossed the border into Estonia and joined her father and brother who had settled there after Estonia won its independence from Russia. Under her father's guidance (he played the violin and greatly admired opera), she began making concert appearances in the Baltic states. In 1929 she married Dr. Kuno Foelsch, a physicist, and moved to Germany. She continued her concert career there and was eventually engaged by the Berlin State Opera in 1933. Her operatic appearances and recordings quickly propelled her to the forefront of European singers. Her records were heard by Irving Thalberg of MGM who signed her "sight unseen" to a 10 year film contract. She arrived in Hollywood in March of 1936. Thalberg's death in September of that year delayed production of her first film, and it was not until May of 1938 that she started work on The Great Waltz (1938). The film was well received and she was nominated for an Academy Award, one of the few singers of the period to be so honored. As a vehicle for her second picture, MGM bought the screen rights to the novel "Sandor Rozsa", a story based on the outlaw of the early 19th century who ambushed the wealthy as they traveled between Budapest and Vienna (a kind of Hungarian Robin Hood). The working title of the picture was "Guns and Fiddles" with music derived from Liszt and arranged by Emmerich Kalman. Her co-stars were to be Robert Taylor (as Sandor Rozsa), Hedy Lamarr and Franchot Tone. On May 28, 1940, just two weeks before the scheduled production date of this new picture, she was seriously injured in an auto accident. Her left leg was so badly crushed that the doctors at first considered amputation. However, after several months in hospital, where she underwent numerous operations and bone grafts, she did recover use of the leg.

By the summer of 1941 she had sufficiently recovered to undertake a concert tour of South America. The tour began in Mexico and shortly afterward the U.S. entered World War II. Having spent her youth in war and revolution, she decided to remain in Mexico for the duration. She made one film there, Caballería del imperio (1942) ("Imperial Chivalry"). She returned to the U.S. in October of 1944 to appear at Carnegie Hall. Eventually, she settled in Los Angeles and made concert appearances throughout North America. In 1952, she married Dr. Walter Shector, a physician, and retired from the stage, preferring instead to make recordings. She remained a bright fixture in southern California society and was greatly admired and sought out by visiting artists such as Joan Sutherland and Beverly Sills. She died of heart failure in August, 1980.

Marie Curie was born on 7 November 1867 in Warsaw, Poland, Russian Empire [now Warsaw, Mazowieckie, Poland]. She was married to Pierre Curie. She died on 4 July 1934 in Sancellemoz, Haute-Savoie, France.

Aleksander Bardini was born on 17 November 1913 in Lódz, Poland, Russian Empire [now Lódz, Lódzkie, Poland]. He was an actor and director, known for The Double Life of Véronique (1991), Three Colors: White (1994) and Korczak (1990). He was married to Julia Aftanasow. He died on 30 July 1995 in Warsaw, Mazowieckie, Poland.

Wladyslaw Hancza was born on 18 May 1905 in Lódz, Poland, Russian Empire [now Lódz, Lódzkie, Poland]. He was an actor, known for Chlopi (1972), Chlopi (1973) and 5 i 1/2 Bladego Józka (1970). He was married to Barbara Ludwizanka. He died on 19 November 1977 in Warsaw, Mazowieckie, Poland.

Born: February 5, 1902 in Warsaw, Poland Died: April 25, 1983 in Los Angeles, California, USA Kaper displayed musical talent as early as the age of seven when his family acquired a piano. His inclination to music led him to study both piano and composition, while also taking courses in law to satisfy his father. At twenty-one he graduated from The Chopin Music School. To continue his musical education he went to Berlin. In order to support himself during this period he began writing songs for a cabaret. Later he worked as an arranger and a composer for both stage and film productions. In 1933, as the Nazis rose to power in Germany, Kaper moved to Paris and worked in the French film industry. This phase of his career lasted only two years, for in 1935 MGM executive Louis B. Mayer was on vacation in Europe and happened to hear one of Kaper's songs. Mayer offered the composer a contract, and Kaper soon found himself working in Hollywood. One of his first efforts for MGM was the title tune for the film San Francisco (1936), a song which was so appealing to the American public that it became a standard. During his early years at MGM, the studio kept Kaper busy as a songwriter. But the composer looked for opportunities to write complete background scores. In the forties he did provide music for dramatic films such as Gaslight (1944), Green Dolphin Street (1947) and Act of Violence (1949). This last film, a disturbing thriller directed by Fred Zinneman, shows how sophisticated and daring Kaper's music could be. Drawing on his knowledge of modern composition, he was surprisingly successful at incorporating dissonant, abstract sounds into his film scores considering the conservative tastes that prevailed in Hollywood. But it is important to note that the composer always depended on others to orchestrate his work. Kaper wrote his scores at the piano. Then he would give what he'd written to an orchestrator and they would discuss how to expand on the piano reduction. In the fifties Kaper was given more opportunities to show his range. He created edgy, modern scores for films like Them! (1954) and rich, romantic scores for films like The Brothers Karamazov (1958), while still turning out catchy melodies for musicals like Lili (1953). By the end of the decade, though, it was clear that the Hollywood studios were in decline and that the days of in-house music departments were over. When the ax fell at MGM, Kaper went on working as a freelance film composer. One of his last major film assignments was Lord Jim (1965), an adaptation of the Conrad novel. To complement the epic scope of the film, Kaper used not only a large symphony orchestra but also many instruments indigenous to the story's Asian setting. Like most Hollywood composers of the studio era, Kaper found himself working on fewer movies during the sixties. His last credit on a theatrical release was A Flea in Her Ear (1968). Though he was later hired to work on The Salzburg Connection (1972), his score was discarded. Kaper died at his home in Los Angeles in 1983. by Casey Maddren Bibliography The Film Music of Bronislaw Kaper, notes by Tony Thomas, Delos Records, 1975 Variety, obituary, May 4, 1983 Interview with Pete Rugolo conducted by the author, 1998

Artur Rubinstein was born on 28 January 1887 in Lódz, Poland, Russian Empire [now Lódz, Lódzkie, Poland]. He was an actor, known for The Truman Show (1998), Night Song (1947) and Carnegie Hall (1947). He was married to Aniela Mlynarska. He died on 20 December 1982 in Geneva, Switzerland.

Mr. Rose was a comedy writer and producer who began writing gags for Milton Berle and radio lines for Bob Hope before moving to Hollywood screenplays. In 1943 he penned his first Hollywood screenplay, the classic comedy 'Road to Rio'. In 1955, Mr. Rose began producing as well as writing, with Hope's 'The Seven Little Foys'. The film was directed by Melville Shavelson, who became Mr. Rose's longtime writing and producing partner.

Leo Rosten was born on 11 April 1908 in Lódz, Poland, Russian Empire [now Lódz, Lódzkie, Poland]. He was a writer, known for All Through the Night (1942), Lured (1947) and Sleep, My Love (1948). He died on 19 February 1997 in New York City, New York, USA.