Joan de Beauvoir de Havilland (aka Joan Fontaine) was born on October 22, 1917, in Tokyo, Japan, in what was known as the International Settlement. Her father was a British patent attorney with a lucrative practice in Japan, but due to Joan and her older sister's (Olivia de Havilland) recurring ailments the family moved to California in the hopes of improving their health. Mrs. de Havilland and the two girls settled in Saratoga while their father went back to his practice in Japan. Joan's parents did not get along well and a divorce soon followed. Mrs. de Havilland had a desire to be an actress but her dream was curtailed when she married. Now she hoped to pass on her dream to Olivia and Joan. While Olivia pursued a stage career, Joan went back to Tokyo, where she attended the American School. In 1934 she came back to California, where her sister was already making a name for herself on the stage. Joan likewise joined a theater group in San Jose. However, San Jose was not quite an acting mecca, so she went to Los Angeles to try her luck there. After moving to L.A., Joan adopted the name of Joan Burfield because she didn't want to infringe upon Olivia, who was using the family surname. She tested at MGM for a small role in No More Ladies (1935), but she was scarcely noticed. After that production, Joan was idle for a year and a half. During this time she roomed with Olivia, who was having much more success in films. By 1937, this time calling herself Joan Fontaine, she landed a better role as Trudy Olson in You Can't Beat Love (1937). Later that year she took an uncredited part in Quality Street (1937). Although the next two years saw her in better roles, she still yearned for something better. In 1940 she garnered her first Academy Award nomination for Rebecca (1940). Although she thought she should have won, (she lost out to Ginger Rogers in Kitty Foyle: The Natural History of a Woman (1940)), she was now an established member of the Hollywood set. She would again be Oscar-nominated for her role as Lina McLaidlaw Aysgarth in Suspicion (1941), and this time she won. Joan was making one film a year but choosing her roles well. In 1942 she starred in the well-received This Above All (1942). The following year she appeared in The Constant Nymph (1943). Once again she was nominated for the Oscar, losing out to Jennifer Jones in The Song of Bernadette (1943). By now it was safe to say she was more famous than her older sister. More fine films followed. In 1948, though, she was forced to accept second billing to Bing Crosby in The Emperor Waltz (1948). Joan took the year off in 1949 before coming back in 1950 with September Affair (1950) and Born to Be Bad (1950). In 1951 she starred in Paramount's _Darling, How Could You (1951)_ , which turned out badly for her and the studio, as it wasn't the hit they imagined it would be. More weak productions followed. Joan slowed down on the big screen for a while, taking parts in television programs and dinner theaters. She also starred in many well produced Broadway plays such as "Forty Carats" and "The Lion in Winter". Her last appearance on the big screen was The Witches (1966). Her final appearance before the cameras was Good King Wenceslas (1994) (TV). Joan, today, still appears on the stage and lecture circuit while traveling and writing in her spare time. She is, without a doubt, a lasting movie icon.