Her films of the early and mid 1950s were generally lightweight romantic dramas, some historical, in which she was cast as ingénue or siren, often in varying states of undress.

Her French-language films were dubbed for international release.

Her popularity as a radio performer and vocalist, which included a second hit record " My Dreams Are Getting Better All the Time ", led directly to a career in films.

Her almost 60-year career crossed most media frontiers with both supporting and leading roles, but she may be best-remembered for playing the sardonic but engaging title character, a high school teacher, on Our Miss Brooks, and as the Rydell High School principal in the films Grease and Grease 2.

Her film career began in earnest in 1937 when she appeared in the films Oh Doctor and Stage Door.

Her films include The Virgin Suicides and Lost in Translation.

Her first film under RKO was The Most Dangerous Game ( 1932 ), co-starring Joel McCrea and shot at night on the same jungle sets that were being used for King Kong during the day, with the leads from both films, Wray and Robert Armstrong, appearing in both movies.

Her films My Best Friend's Wedding ( 1997 ), Mystic Pizza ( 1988 ), Notting Hill ( 1999 ), Runaway Bride ( 1999 ), Valentine's Day ( 2010 ), The Pelican Brief ( 1993 ), Ocean's Eleven ( 2001 ), and Ocean's Twelve ( 2004 ) have collectively brought box office receipts of over $ 2. 4 billion, making her one of the most successful actresses in terms of box office receipts.

Pickford added to her 1909 Biographs ( Sweet and Twenty, They Would Elope, and To Save Her Soul, to name a few ) with films from California.

Her uncle, Roger Ernest, attended college with Steven Spielberg and co-wrote one of his student films called Slipstream.

Her uncle also appeared in Close Encounters of the Third Kind and The Sugarland Express, playing a police officer in both films.

Her friend Miriam Cooper helped Lombard land small roles in her husband Raoul Walsh's films.

Her films include: Houseboat ( 1958 ), El Cid ( 1961 ), Yesterday, Today and Tomorrow ( 1963 ), Marriage Italian-Style ( 1964 ), and A Special Day ( 1977 ).

Her first two Hollywood films were The April Fools ( 1969 ), a romantic comedy with Jack Lemmon, and Hustle ( 1975 ), a crime drama with Burt Reynolds.

Her other significant films of the period were Ma saison préférée ( 1993 ) and Les Voleurs ( 1995 ), both directed by André Téchiné.

Her outstanding performance won her the attention of producers, who cast her in a series of films.

Her last films made abroad were Beyond All Limits ( Mexican-American production, 1957 ) with Jack Palance, Faustina ( Spain, 1957 ), Sonatas ( Spain, 1957 ) directed by Juan Antonio Bardem and La Fievre Monte a El Pao ( French-Mexican production, 1959 ) directed by Luis Buñuel.

Notable later films include Sister Act and Sister Act 2, The Lion King, Made in America, How Stella Got Her Groove Back, Girl, Interrupted and Rat Race.

In the 1980s, Greenaway's cinema flowered in his best-known films, The Draughtsman's Contract ( 1982 ), A Zed & Two Noughts ( 1985 ), The Belly of an Architect ( 1987 ), Drowning by Numbers ( 1988 ), and his most successful ( and controversial ) film, The Cook, the Thief, His Wife & Her Lover ( 1989 ).

Her physical appearance was such that romantic heroines were out of the question, and she soon established her name in comedy, appearing in many of the most successful British plays and films.

Her earliest films were produced in New York.

Her subsequent films failed to capitalize on her renewed success, with the exception of the suspense film Sleep, My Love ( 1948 ) with Robert Cummings.

Her films of this period received mixed reception.

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.

With increasing interest in the war in Europe, the film performed well at the box office, but Shearer made errors in judgment, passing up roles in the highly successful films Now, Voyager and Mrs. Miniver, in order to star in We Were Dancing and Her Cardboard Lover ( 1942 ), which both failed at the box office.

Her eyes were glazed as if she didn't hear or even see him.

Her blond hair was frowzy, her dress torn in several places, and her shoes were so completely worn out that they were practically no protection.

Her legs were the full, sexy kind, full bodied like a rare wine and just as tantalizing to the appetite ; ;

Her glance swung past the trailer where the two drivers were standing.

Her long thin arms moved in a slow rhythmical gesture over the family possessions which were placed in front of her.

Her quarters were on the right as you walked into the building, and her small front room was clogged with heavy furniture -- a big, round, oak dining table and chairs, a buffet, with a row of unclaimed letters inserted between the mirror and its frame.

Her thoughts were not discrete.

Her eyebrows were definite and heavy and formed two lines moving upward toward a high forehead and a great head of brown hair that fell to her shoulders.

Her services to the School for many years were of a very high character, and I have often thought that one of the buildings should be named for her ''.

Her eyes were bright with anticipation.

Her `` Rockabye Your Baby '' was as good as it can be done, and her really personal songs, like `` The Man That Got Away '' were deeply moving.

Her hesitation was only momentary and she hoped he didn't notice it, as she settled herself, asked quickly how Miss Jenny and the babies were getting on.

Her nose was higher of bridge, her complexion so pale as to be quite susceptible to sunburn, and the fish and vegetable diet of her forebears had given her teeth that were white and regular and strong.

Her bright eyes were twinkling.

Her hair never seemed to be in place and her skirts were never quite the correct length.

Her eyes were wild.

Her dark cool caresses were sweeter than any woman's ; ;

Her eyes were smiling, too, but so sadly, and there was tiredness and infinite wisdom in them.

Her extendibles were diverted, connected or augmented and the final, delicate-beyond-description brain taps were completed while Helva remained anesthetically unaware of the proceedings.

Her book titles, changed by American publishers, for example Ten Little Niggers to Ten Little Indians, were kept the same across the Atlantic, after bushels of fan mail.

Her two children by Philip II, Philip, count of Clermont ( died 1234 ), and Mary, who married Philip I of Namur, were legitimized by the pope in 1201 at the request of the king.

Her remaining children were raised between her, Livia Drusilla and Germanicus ’ mother Antonia Minor.

Her reputed last words, uttered as the assassin was about to strike, were " Smite my womb ", the implication here being she wished to be destroyed first in that part of her body that had given birth to so " abominable a son.