Mario Moreno and Greer Garson.

Mario Fortino Alfonso Moreno Reyes, known casually as Mario Moreno, and known professionally as Cantinflas (12 August 1911 – 20 April 1993) Mario Moreno Reyes ('Cantinflas'), actor: born Mexico City 12 August 1911; married (one adopted son); died Mexico City 20 April 1993. CANTINFLAS was one of the most famous men in the world in the late 1950s. Like many another, he was famous for being famous. This wasn't his fault. He had the good luck to be in a hugely popular Academy Award-winning movie, and with his bowler hat, wing collar, incipient moustache and quizzical expression there was no one quite like him - which is reason enough for fame in the movies. He had been extraordinarily popular in his native Mexico and other Latin American countries since making his film debut in 1936; he had been a prizefighter, a comic bullfighter and a circus clown. In movies the combination of pathos and slapstick had a wide appeal. He usually made one film a year and such was his popularity that the government learnt to close the pawnshops on the day his films opened. All the same, no one predicted international fame for him until Mike Todd cast him as the valet Passepartout in Around the World in 80 Days (1956), accompanying Phineas Fogg on his travels. Todd was a flamboyant - the adjective was always used - showman, with a vivid personal way of life and several indifferent Broadway credits. In 1945 Orson Welles asked him to produce a dramatised version of the Jules Verne novel. Todd withdrew, claiming that he had no more money, but the book continued to fascinate him, and he chose it for his first venture as a movie producer. It looked a very dodgy one: he had huge ambition but no experience, and his British director, Michael Anderson, though more than capable, had not worked on a big-budget Hollywood movie. The leading man, David Niven, had once been a leading Hollywood star, but the offers had become either lean or few and far between. Todd decided to back him with an all-star cast in the minor roles, going first to Noel Coward on the assumption that, if Coward assented, everyone else would. They did: from Ronald Colman to Marlene Dietrich, from Beatrice Lillie to John Gielgud. As well as Fernandel. Fernandel had been in movies longer than Cantinflas, but it was thought that he, too, had a local appeal which wouldn't travel: but Le Petit Monde de Don Camillo (1952) changed that. Many others of his French movies were successfully exported, so that Todd begged him to play Passepartout. Fernandel declined, saying that his English wasn't good enough. Todd looked at some of Cantinflas's comic cut-ups and offered him the role. He made a great success in it - mischievous, cunning, and wholly devoted to his master. The film's success ensured Cantinflas a niche among movie immortals. Charlie Chaplin called him 'the world's greatest comedian', doubtless because he knew that Cantinflas was called 'Mexico's Charlie Chaplin'. While several Hollywood studios planned star vehicles for him, he returned to Mexico and made, among other films, Sube y Baja (1959, 'Ups and Downs'). This arrived in Britain early in 1961, supporting Carne's Les Tricheurs at one of the lesser art cinemas in London. It was an ingenuous but trying piece, with Cantinflas as a lift attendant who impersonates a famous athlete. He was himself - as he had not been in Mike Todd's film - trousers braced too high, double- jointed, an innocent, reminiscent of Harry Langdon or Harold Lloyd's early screen persona. Both he and the film went unremarked - which was not a good augury for the actor's big Hollywood film. This was Pepe (1960), produced and directed at Columbia by George Sidney, with Dan Dailey and Shirley Jones as supporting cast, plus just about everyone in cameo roles - Crosby, Chevalier, Sinatra, Greer Garson, Jack Lemmon, Kim Novak etc. Cantinflas played a Mexican ranch foreman who has adventures in Hollywood, all of them witless and cliche-ridden. Hollywood didn't give Cantinflas another chance. It really wasn't his fault. Someone should have realised at the start that his English simply wasn't up to sustaining the leading role. He continued to film in Mexico, his popularity growing with the years, and he became immensely wealthy - it was a wealth he shared with many charities and the Church.

Biography Picture Titian haired Greer Garson was one of the most popular actress during the 1940s. Unlike most young actresses beginning their careers in Hollywood, Garson was already in her mid-thirties when she made her first film. Her elegant and intelligent demeanor struck a cord with the movie going public and her popularity soared at MGM. She possessed a beautiful speaking voice and her refined acting style earned her six Academy Award nominations. She also appeared in five films that earned Best Picture nominations. She was born Eileen Evelyn Greer Garson on September 29, 1904 in London although she always claimed that she was born in Ireland in 1908. Her father died during an appendectomy when Greer was only two. Greer's mother, Nina (who was from Scotland) provided a living for them by managing townhouses that her husband had owned. Greer was a sickly child, suffering from bronchitis, and spent most of her winters in bed. She was not one to be idle with discouragement, however, and she passed the time by reading and studying. Summers were spent at her grandparent's home in Ireland and it was there in the green countryside that her imagination flourished. She did not have any clear-cut career goals but her mother felt that her future lay in academia due to Greer's intelligence and book sense. She entered the University of London in 1921 and spent five years there, earning a Bachelor's degree in 1926. It was at the university that she discovered the theater and a passion for acting. Following graduation, she worked in a research library for an advertising agency and participated in local theater productions whenever she could. In 1931, Greer was accepted at the Birmingham Repertory Company and she quit her job at the ad agency. She performed in small roles in a variety of productions for two years before a long bout with pneumonia forced the company to terminate her contract. While recuperating, Greer was courted by a childhood friend, Alec Snelson, who eventually proposed to her. She accepted due to the advice from family and friends although deep down inside she knew that she did not love him. The marriage proved to be disastrous. Snelson took Greer on a honeymoon trip to Germany where she learned that he was a jealous and extremely possessive man. Snelson traveled on to India where he would work, but Greer, who was ill again, stayed with her mother in London. It would be a year before she saw Snelson again and they would never spend any more time together. He refused a divorce and it would be years later, when Greer was pursuing a successful career in Hollywood, before the divorce would be final. Greer returned to acting when her health improved. She eventually landed a role in a play with Laurence Olivier called "The Golden Arrow" and it proved to be her breakthrough. She was suddenly very popular throughout London and play offers poured in. She acted in a variety of plays, ranging from Shakespeare to costume dramas, but none of them were huge hits. In 1937, while performing in a play called Old Music, she was noticed by MGM mogul Louis B. Mayer, would was in London seeking new talent. Greer was actually not that interested in a film career because she felt that she did not photograph well. However, the lure of money and a nice climate for her mother, convinced her to change her mind. In September of 1937, she signed a seven year contract with MGM. See Greer Garson: Obituary.