Elliot’s voice was her most defining asset. She had a distinctive, clear, and powerful contralto that stood out. Her ability to deliver both strong, earthy tones and soaring, harmonious vocals was a major factor in the success of The Mamas & the Papas’ sound. She was often credited with being the group’s “powerhouse voice,” and she was crucial to their layered, folk-rock harmonies.

On stage, Cass was known for her immense charisma, warmth, and self-deprecating wit. She used humor to connect with the audience, often addressing her weight and other personal struggles with a “caustic wit” that became her trademark. This authenticity endeared her to crowds and made her a beloved figure, as she defied the typical “waifish blonde girl singer” image of the era.

Her fashion was an iconic representation of the 1960s. She had an eye for “gorgeous patterns,” and her outfits often featured bold colors, flowing fabrics, and a bohemian aesthetic. She was seen as a glamorous and magnetic figure, with a sense of style that was a knockout despite the limited options available for her body type at the time.

As a member of The Mamas & the Papas, Cass was not just a singer; she was a major component of their stage dynamic. While John Phillips was the bandleader, Cass was the performer who knew how to capture an audience’s attention. A 1967 New York Magazine review said, “She is a star, not despite her weight or because of it, but beyond it. Cass is a horizon.”

After the group’s breakup in 1968, Cass embarked on a solo career. Her hit “Dream a Little Dream of Me” became her signature song and a staple of her live performances. However, her solo live debut at Caesars Palace in Las Vegas in October 1968 was a notable struggle. Having recently lost a significant amount of weight on a crash diet and dealing with a raging fever, her voice was weak and the show was poorly received. She apologized to the audience but persevered, ultimately finding great success with later solo shows and television appearances.

In Al DiOrio’s 1983 biography of Barbara Stanwyck, he included the following statement that Stanwyck had made while working with Elvis Presley during the filming of Roustabout in 1964: “So many people expect the swelled head and all that sort of thing. As a matter of fact, very honestly, so did I. It is not the case. Elvis was a wonderful person to work with. His manners are impeccable, he is on time, he knows his lines, he asks for nothing outside of what any other actor or actress wants.”

Joan Freeman, who played Cathy Lean, Elvis’s love interest said, “First of all, I’d like to let people know what a fine person Elvis is. He’s very considerate and so modest you’d never know he was a big star with admirers in every corner of the world.” In real life, she and Elvis did not spend much time together off-set.

Joan Staley, who played Marge the waitress, recalled a particular scene with Elvis where her character slaps him. She asked if it could be “pulled” (i.e. fake/slightly off-frame) but Elvis said “no … I want you to slap me.” So that slap in the filmed scene is real.

Garbo, born Greta Lovisa Gustafsson in Stockholm, began her career with small roles in advertising films and Swedish movies in the early 1920s. Her breakout role came in the 1924 film The Saga of Gösta Berling, directed by Mauritz Stiller. This collaboration with Stiller, who would become her mentor, brought her to the attention of MGM’s Louis B. Mayer, who brought both of them to Hollywood in 1925.

Garbo’s first American film, The Torrent (1926), was a success. She quickly rose to international stardom with a series of popular silent romantic dramas, often co-starring with John Gilbert. Their on-screen chemistry and off-screen romance captivated audiences. Some of her most notable silent films include Flesh and the Devil (1926), Love (1927) and her final silent film The Kiss (1929).

With the advent of “talkies,” MGM carefully managed Garbo’s transition to sound, promoting it with the famous tagline, “Garbo Talks!” Her first sound film, Anna Christie (1930), was a critical and commercial success. Her husky, low-pitched voice defied expectations and only added to her mystique. She earned her first of four Academy Award nominations for this role, as well as for her second talkie, Romance (1930).

The 1930s were the pinnacle of Garbo’s career, as she solidified her status as a screen legend. She was a dominant box-office draw and a favorite of critics. Her most famous and celebrated films from this period include Mata Hari (1931), Grand Hotel (1932), Queen Christina (1933), Anna Karenina (1935), Camille (1936) and Ninotchka (1939).

Garbo’s final film was the comedy Two-Faced Woman (1941), which was a critical and commercial failure. The film’s poor reception, coupled with the onset of World War II which severely limited her European market, led her to step away from acting. She was only 36 at the time. Despite receiving many offers, she chose to live the rest of her life in seclusion, a decision that only enhanced her public enigma. She was awarded an honorary Academy Award in 1955 for her “luminous and unforgettable screen performances,” but she did not attend the ceremony.