O’Hara made lightning strike twice in her career with indelible cinematic turns. In 1988’s spooky satire Beetlejuice, she played Delia Deetz, who led her possessed dinner guests in an enthralling song and dance performance of Day-O (the Banana Boat song).

Two years later, in Home Alone, her panicked scream of “Kevin!” as she realizes her mischievous eight-year-old son had been left behind during their Christmas holiday is among the most memorable moments from one of the most successful film comedies ever. Her young co-star Macaulay Culkin, now 45, paid tribute to his on-screen mother on Friday, sharing images of the two of them from the film and in later years: “Mama. I thought we had time. I wanted more. I wanted to sit in a chair next to you. I heard you. But I had so much more to say. I love you. I’ll see you later.”

While many 1950s starlets were marketed solely on “bombshell” appeal, Simmons was celebrated for her expressive eyes and classical acting range. She had a unique ability to play both the fragile ingenue and the spirited, independent woman.

In Guys and Dolls (1955), she surprised audiences by performing her own vocals as Sarah Brown opposite Marlon Brando. Her performance captured a perfect blend of “buttoned-up” missionary and hidden fire. She starred in massive Technicolor productions like The Robe (1953) and played the fiery Varinia in the pre-production stages of Spartacus (eventually released in 1960, but filmed at the decade’s end). In the film noir classic Angel Face (1953), she played a chilling femme fatale, proving she could be just as dangerous as she was charming.

Despite her success, Simmons’ 1950s were also defined by a legal battle. She was famously “bought” from a British studio by the eccentric mogul Howard Hughes. Hughes attempted to control her career and even her personal appearance, but Simmons fought back in a high-profile lawsuit to gain her independence. This move was incredibly gutsy for a woman in the 1950s studio system and allowed her to choose the diverse roles that defined her legacy.

“I’ve always been a bit of a rebel. I think it’s because I’m a Londoner.” — Jean Simmons

Seconds before the photo was taken, Uecker (a backup catcher) had whispered to Gibson (the team’s intimidating ace pitcher), “We should hold hands.” Gibson happily did, and they held hands, and they smiled big, and this was 1964. They did it simply as a gag to break the stiffness of the formal moment, not for any political or social statement. When management discovered the pose in the developed photo, officials considered it unprofessional and a distraction. Both players were fined an amount often cited as around $200 or $300 total.

The original photograph was discarded, and the entire team had to gather to retake the official picture. The incident became a famous anecdote, which Uecker himself later recounted on The Tonight Show Starring Johnny Carson in 1971: “Management didn’t think it was funny. But it was the only way I could keep Gibson from hitting me, by holding onto his pitching hand.”

This time very purposely putting Uecker and Gibson in separate rows. You will notice in the official team photo, though, they both still have huge smiles on their faces. They knew!

While some have interpreted the gesture as a subtle statement about racial unity during the Civil Rights era (Gibson was Black, Uecker was white), both players maintained it was purely a harmless prank. That same season, the Cardinals went on to win the 1964 World Series.