A private school-educated everyman who could play outrageous comedy and wrenching tragedy, Jack Lemmon burst onto the movie scene as a 1950s Columbia contract player and remained a beloved star until his death in 2001. Whether through humor or pathos, he excelled at illuminating the struggles of average men against a callous world; as director Billy Wilder once noted, "There was a little bit of genius in everything he did."Born in 1925, the son of a Boston doughnut company executive, Lemmon was educated at Phillips Andover Academy and taught himself to play piano as a teen. A budding thespian by the time he entered Harvard, he was elected president of the famed Hasty Pudding Club. After his college career was briefly interrupted by a stint in the Navy at the end of World War II, Lemmon graduated from Harvard and headed to New York to pursue acting. Supporting himself by playing piano in a bar and for silent movies, he soon began to land acting jobs in radio, theater, and TV. By the early '50s, Lemmon had appeared in hundreds of live TV roles, including in the dramatic series Kraft Television Theater and Robert Montgomery Presents, as well as co-starring with first wife, Cynthia Stone, in two short-lived sitcoms. After Lemmon landed a major role in the 1953 Broadway revival of Room Service, a talent scout for Columbia Pictures convinced the actor to try Hollywood instead. Defying Columbia chief Harry Cohn's demand that he change his last name lest the critics take advantage of it in negative reviews, Lemmon quickly made a positive impression in his first film, the Judy Holliday comic hit It Should Happen to You (1954). Essaying such roles as one of the suitors in the musical My Sister Eileen (1955) and a beatnik warlock in Bell, Book and Candle (1958), Lemmon became a reliably nimble comic presence at Columbia. A loan out to Warner Bros. for the smash Mister Roberts (1955), however, truly began to reveal his ability. Drawing on his Navy memories to play the wily Ensign Pulver, Lemmon held his own opposite heavyweights Henry Fonda and James Cagney and won a Best Supporting Actor Oscar for his fourth film. A free-agent star by the end of the 1950s, he began one of his two most auspicious creative collaborations when writer/director Billy Wilder tapped him to play one of the cross-dressing musicians in the gender-tweaking comic classic Some Like It Hot (1959). As enthusiastically female bull fiddler Daphne to Tony Curtis' preening Lothario sax player Josephine, Lemmon danced a sidesplitting tango with millionaire suitor Joe E. Brown and delivered a sublime speechless reaction to Brown's nonchalant acceptance of his manhood. Fresh off a Best Actor nomination for Hot, he then gave an image-defining performance in Wilder's multiple-Oscar winner The Apartment (1960). As ambitious New York office drone C.C. Baxter, who climbs the corporate ladder by loaning his small one-bedroom to his philandering bosses, Lemmon was both the likeable cynic and beleaguered romantic, perfectly embodying Wilder's sardonic view of a venal world. Though he lost the Best Actor Oscar to Burt Lancaster, Lemmon's turn as the put-upon quotidian schnook pervaded the rest of his career. Determined to prove that he could play serious roles as well as comic, Lemmon campaigned to play Lee Remick's alcoholic husband in Blake Edwards' film adaptation of the teleplay Days of Wine and Roses (1962). Revealing the darker side of middle-class desperation, Lemmon earned still more critical kudos and another Oscar nomination. Despite this triumph, he returned to comedy, re-teaming with Wilder and The Apartment co-star Shirley MacLaine in Irma la Douce (1963). Though the love story between a Parisian prostitute and a cop-turned-lover in disguise was a lesser effort, Irma la Douce became a major hit for the trio. Continuing to display his skill at offsetting his characters' unseemly behavior with his innate, ordinary-guy affability, Lemmon's mid-'60s comic roles included a lascivious landlord in Under the Yum Yum Tree (1963) and a homicidal husband in How to Murder Your Wife (1965).Lemmon began his second legendary creative partnership when Wilder cast Walter Matthau opposite him in The Fortune Cookie (1966), a razor sharp comedy featuring Lemmon as a not-so-injured cameraman and Matthau as a slimy lawyer. The duo's popularity was cemented when they re-teamed for the hit film version of Neil Simon's The Odd Couple (1968). Despite his genuine pathos as suicidal, anal-retentive divorc