Fredric March (born Ernest Frederick McIntyre Bickel; August 31, 1897 – April 14, 1975) was an American stage and film actor. He won the Academy Award for Best Actor in 1932 for Dr. Jekyll and Mr. Hyde and in 1946 for The Best Years of Our Lives.

March was born in Racine, Wisconsin, the son of Cora Brown (née Marcher), a schoolteacher, and John F. Bickel, a devout Presbyterian Church elder who worked in the wholesale hardware business. March attended the Winslow Elementary School (established in 1855), Racine High School, and the University of Wisconsin–Madison where he was a member of Alpha Delta Phi. He began a career as a banker, but an emergency appendectomy caused him to reevaluate his life, and in 1920 he began working as an extra in movies made in New York City, using a shortened form of his mother's maiden name, Marcher. He appeared on Broadway in 1926, and by the end of the decade signed a film contract with Paramount Pictures.

March received an Oscar nomination in 1930 for The Royal Family of Broadway, in which he played a role based upon John Barrymore (which he had first played on stage in Los Angeles). He won the Academy Award for Best Actor in 1932 for Dr. Jekyll and Mr. Hyde (tied with Wallace Beery for The Champ although March accrued one more vote than Beery), leading to a series of classic films based on stage hits and classic novels like Design for Living (1933) with Gary Cooper, Death Takes a Holiday (1934), Les Misérables (1935) with Charles Laughton, Anthony Adverse (1936) with Olivia de Havilland, and as the original Norman Maine in A Star is Born (1937) with Janet Gaynor, for which he received his third Oscar nomination.

Veronica Lake (November 14, 1922 – July 7, 1973) was an American film actress and pin-up model. She received both popular and critical acclaim, most notably for her role in Sullivan's Travels and for her femme fatale roles in film noir with Alan Ladd during the 1940s. She was well-known for her peek-a-boo hairstyle. Lake had a string of broken marriages and, after her career declined, had long struggles with mental illness and alcoholism.

Lake was born Constance Frances Marie Ockelman in Brooklyn, New York. Her father, Harry E. Ockelman, of Danish-Irish descent, worked for an oil company aboard a ship. Her father died in an industrial explosion in Philadelphia in 1932 when she was ten. Her mother, née Constance Charlotta Trimble (1902–1992; of Irish descent), married family friend Anthony Keane, a newspaper staff artist, a year later, and Lake began using his last name.

Lake was sent to Villa Maria, an all-girls Catholic boarding school in Montreal, Canada, from which she was expelled. The Keane family later moved to Miami, Florida. Lake attended Miami Senior High School in Miami, where she was known for her beauty. She had a troubled childhood and was diagnosed as schizophrenic, according to her mother.

Janet Gaynor (October 6, 1906 – September 14, 1984) was an American actress and painter.

One of the most popular actresses of the silent film era, in 1928 Gaynor became the first winner of the Academy Award for Best Actress for her performances in three films: Seventh Heaven (1927), Sunrise: A Song of Two Humans (1927) and Street Angel (1928). This was the only occasion on which an actress has won for successive film roles. This rule would be changed three years later by AMPAS. Her career as the primary actress of Fox Studios continued with the advent of sound film, and she achieved a notable success in the original version of A Star Is Born (1937).

She chose to work only occasionally after her marriage to film costume designer Adrian in 1939. She was severely injured in a 1982 vehicle collision, which contributed to her death two years later.

Born Laura Augusta Gainor in Philadelphia, Pennsylvania, her family moved west to San Francisco during her childhood. When she graduated from high school in 1923, Gaynor decided to pursue an acting career. She moved to Los Angeles, where she supported herself working in a shoe store, receiving $18 per week (2009: $230).

Lee Marvin (February 19, 1924 – August 29, 1987) was an American film actor. Known for his gravelly voice, white hair and 6 ft 2 in (1.88 m) stature, Marvin at first did supporting roles, mostly villains, soldiers and other hardboiled characters, but after winning an Academy Award for Best Actor for his dual roles in Cat Ballou (1965), he landed more heroic and sympathetic leading roles.

Marvin was born in New York City. He was the son of Lamont Waltman Marvin, an advertising executive and the head of the New York and New England Apple Institute, and his wife Courtenay Washington (née Davidge), a fashion writer and beauty consultant. He was named in honor of Confederate General Robert E. Lee, who was his first cousin, four times removed. His father was a direct descendant of Matthew Marvin, Sr., who emigrated from Great Bentley, Essex, England in 1635 and helped found Hartford, Connecticut.

Marvin studied violin when he was young. As a teenager, Marvin "spent weekends and spare time hunting deer, puma, wild turkey, and bobwhite in the wilds of the then-uncharted Everglades." He attended St. Leo College Preparatory School in St. Leo, Florida after being expelled from several other schools for bad behavior.

Edith Norma Shearer (August 10, 1902 – June 12, 1983) was a Canadian actress. Shearer was one of the most popular actresses in North America from the mid-1920s through the 1930s. Her early films cast her as the girl-next-door but for most of the Pre-Code film era beginning with the 1930 film The Divorcee, for which she won an Oscar for Best Actress, she played sexually liberated women in sophisticated contemporary comedies. Later she appeared in historical and period films.

Unlike many of her MGM contemporaries, Shearer's fame declined steeply after retirement. By the time of her death in 1983, she was largely remembered at best for her "noble" roles in The Women, Marie Antoinette, and Romeo and Juliet. Shearer's legacy began to be re-evaluated in the 1990s with the publication of two biographies and the TCM and VHS release of her films, many of them unseen since the implementation of the Production Code some sixty years before. Focus shifted to her pre-Code "divorcee" persona and Shearer was rediscovered as "the exemplar of sophisticated [1930's] woman-hood... exploring love and sex with an honesty that would be considered frank by modern standards".