Edward G. Robinson was a Romanian-born American actor. Although he played a wide range of characters, he is best remembered for his roles as a gangster, most notably in his star-making film Little Caesar.

Born as Emanuel Goldenberg to a Yiddish-speaking Romanian-Jewish family in Bucharest, he emigrated with his family to New York City in 1903. He had his Bar Mitzvah at First Romanian-American congregation, and attended Townsend Harris High School and then the City College of New York. An interest in acting led to him winning an American Academy of Dramatic Arts scholarship, after which he changed his name to Edward G. Robinson. Due to age, he could not qualify for military service during WWII.

He began his acting career in 1913 and made his Broadway debut in 1915. He made his film debut in a minor and uncredited role in 1916; in 1923 he made his named debut as E. G. Robinson in The Bright Shawl. One of many actors who saw his career flourish in the new sound film era rather than falter, he made only three films prior to 1930 but left his stage career that year and made 14 films in 1930-1932.

An acclaimed performance as the gangster Caesar Enrico “Rico” Bandello in Little Caesar led to him being typecast as a “tough guy” for much of his early career in works such as Five Star Final, Smart Money, Tiger Shark, Kid Galahad with Bette Davis and Humphrey Bogart, and A Slight Case of Murder and The Amazing Dr. Clitterhouse. In the 1940s, he expanded into psychological dramas including Double Indemnity, The Woman in the Window and Scarlet Street ; but he continued to portray gangsters such as Johnny Rocco in John Huston’s Key Largo, the last of five films he made with Humphrey Bogart.

Edward James “Eddie” Olmos is a Mexican-American actor and director. Among his most memorable roles are William Adama in the re-imagined Battlestar Galactica, Lt. Martin Castillo in Miami Vice, teacher Jaime Escalante in Stand and Deliver, patriarch Abraham Quintanilla in the film Selena, Detective Gaff in Blade Runner, and narrator El Pachuco in both the stage and film versions of Zoot Suit.

Olmos was born Edward James Olmos in Los Angeles, California, where he was raised, the son of Eleanor and Pedro Olmos, who was a welder. His father was a Mexican immigrant and his mother Mexican American. He grew up wanting to be a professional baseball player and became the Golden State batting champion. In his teen years, he turned to rock and roll, and became the lead singer for a band he named Pacific Ocean, so-called because it was to be “the biggest thing on the West Coast”. He graduated from Montebello High School in 1964. While at Montebello High School, he lost a race for Student Body President to future California Democratic Party Chair Art Torres. For several years Pacific Ocean played various clubs in and around Los Angeles and released a record in 1968. At the same time, he attended classes at East Los Angeles College, including courses in acting.

In the late 1960s and the early 1970s, Olmos branched out from music into acting, appearing in many small productions, until his big break portraying the narrator, called “El Pachuco,” in the play Zoot Suit, which dramatized the World War II-era rioting in California brought about by the tensions between Mexican-Americans and local police. The play moved to Broadway, and Olmos earned a Tony award nomination. He subsequently took the role to the filmed version in 1981, and appeared in many other films including Wolfen, Blade Runner and The Ballad of Gregorio Cortez.

In 1980, Olmos was cast in the post-apocalyptic science fiction film Virus. Directed by Kinji Fukasaku and based on a novel written by Sakyo Komatsu. During this film, he demonstrated his acting talents along side Masao Kusakari, George Kennedy, Robert Vaughn, Chuck Connors, Olivia Hussey, Ken Ogata, Sonny Chiba and Glenn Ford. Most remarkable was Olmos playing a piano while singing a Spanish ballad during the later part of the film. Although not a box office success, the Virus was notable for being the most expensive Japanese film ever made at the time. Akin to Blade Runner, it is a shocking if less than accurate portrayal of a modern day pandemic virus outbreak akin to .

Edward Sedgwick was a film director, writer, actor and producer.

He was born in Galveston, Texas, the son of Edward Sedgwick, Sr. and Josephine Walker, both stage actors. Young Edward Sedgwick joined his show business family as one of the Five Sedgwicks, a vaudeville act. The two other family members were Edward’s twin sisters Eileen and Josie Sedgwick, who both later pursued successful silent-movie acting careers. Sedgwick broke into films as a comedian in 1915, frequently cast as a zany baseball player. He then became a serial director six years later in 1921, and moved on to the Tom Mix western unit. Sedgwick’s love of baseball came in handy for the ballpark sequences of Mix’s Stepping Out, Buck Jones? Hit and Run, William Haines? Slide, Kelly, Slide, Buster Keaton?s The Cameraman, and Robert Young?s Death on the Diamond.

Sedgwick signed with MGM in the late 1920s. There, he found a kindred spirit in fellow baseball buff Buster Keaton. Sedgwick directed all of Keaton?s MGM features, both sound and silent: The Cameraman, Spite Marriage, Free and Easy, Dough Boys, Parlor, Bedroom and Bath, Speak Easily, Sidewalks of New York, and What! No Beer?. In 1936 Sedgwick briefly became a producer-director at Hal Roach Studios. There, he made Mister Cinderella and Pick a Star, both starring Jack Haley. The latter film featured a guest appearance by Laurel and Hardy.

Considered a relic of a bygone era by the 1940s, Sedgwick had fewer opportunities to direct. When Laurel and Hardy returned to MGM in late 1942, Sedgwick was chosen to direct them in Air Raid Wardens. It was his last assignment for five years, but he remained on the MGM payroll, sharing an office with the almost-as-idle Buster Keaton.

Edith Storey was an American actress during the silent film era, and whose brother, Richard Storey, also had a brief and much less successful film acting career, with him appearing in only four films. She worked for New York-based Vitagraph Studios most of her career except 1910-1911, when she was under contract with Star Film Company in San Antonio, Texas. She appeared in nearly 150 films between 1908 to 1921, including the 1911 film The Immortal Alamo and the 1914 films A Florida Enchantment and The Christian.

Born and raised in New York City, Storey began acting when she was a child. Her film career began with the 1908 film Francesca di Rimini, also called The Two Brothers. She would have two film roles in 1908, and a total of seventy five by 1913. Many of these films were Westerns as Storey was an excellent horseback rider and could perform her own stunts.

She would appear in another seventy one films from 1913 to 1921, almost all of which were what are considered film shorts. In 1921, at the age of only 29, she retired.

Edmund Gwenn was an English theatre and film actor.

Born Edmund Kellaway in Wandsworth, London, and educated at St. Olave’s School and later at King’s College London, Gwenn began his acting career in theatre in 1895. Playwright George Bernard Shaw was impressed with his acting, and cast him in the first production of Man and Superman, and subsequently in five more of his plays. Gwenn’s career was interrupted by his military service during World War I; however, after the war ended, he started appearing in films in London.

Gwenn appeared in more than eighty films during his career, including the 1940 version of Pride and Prejudice, Cheers for Miss Bishop, Of Human Bondage, and The Keys of the Kingdom. He is perhaps best remembered for his role as Kris Kringle in Miracle on 34th Street, for which he won an Academy Award for Best Supporting Actor. Upon receiving his Oscar, he said “Now I know there is a Santa Claus!” He received a second nomination for his role in Mister 880. Near the end of his career he played one of the main roles in Alfred Hitchcock’s The Trouble with Harry. He has a small but hugely memorable role as a Cockney assassin in another Hitchcock film, Foreign Correspondent

In theater, he starred in a 1942 production on Broadway of Chekov’s Three Sisters, which also starred Judith Anderson and Ruth Gordon. It was produced by and starred Katherine Cornell. Time magazine proclaimed it “a dream production by anybody’s reckoning ? the most glittering cast the theater has seen, commercially, in this generation.”