Monroe Pfiefer
Monroe Pfiefer is known for Pretty Stoned (2023), Monroe: Faux Real (2023) and Found (2023).
Monroe Robertson
Monroe Robertson was born on July 27, 1984 in England. He is known for Siberia (2018), Frank & Lola (2016) and Colour Me Kubrick: A True...ish Story (2005).
Monroe Ron
Monroe Ron is known for Hagane no Renkinjutsushi: Kanketsu-hen - Saigo no Rensei (2022), Hagane no Renkinjutsushi: Kanketsu-hen - Fukushusha Scar (2022) and Shea-suru ra! Instanto râmen arenji bu hajimemasita. (2022).
Monsieur André
Monsieur André is known for Life Remote Control (2011) and Exit Through the Gift Shop (2010).
Monsieur Poulpe
Monsieur Poulpe is known for Nerdz (2007), Young Karaté Boy (2010) and Le Golden Show (2011).
Monsoon Boruah
Monsoon Boruah is known for Gangubai Kathiawadi (2022), Mission Mangal (2019) and Chinese Bhasad (2016).
Monsour Del Rosario
Monsour started his Martial Arts training at the age of 9, which was sadly inspired by being bullied in school. At the same time, he was fascinated by Chinese Kung Fu movies, most especially by Bruce Lee. His first Martial Arts instructor was Joe Lopez-Vito, a Tang Soo Doo/Moo Duk Kwan practitioner. Later on, he shifted to Tae Kwon Do in 1977 under Sung Chon Hong when he moved to Manila for High School. he joined the Philippine National Team in 1982.
Montae Dixon
Montae Dixon is known for Lovecraft Country (2020), Chi-Raq (2015) and The Exorcist (2016).
Montae Russell
A veteran television, theatre, and film actor who was seen on NBC's ER for fifteen seasons as Paramedic Dwight Zadro, won the SAG Award for Best Dramatic Ensemble four times. His film/cable credits include The Player's Club, HBO's Laurel Avenue, TNT's Lily in Winter opposite Natalie Cole; a three year stint on "One Life to Live"; and has made countless television appearances -- Shameless, Detroit 187, Cold Case, to name a few. Writing credits include the award-winning short, Something for Nothing (which he directed), starring Sharif Atkins and Brent Jennings, and The Art of Theft, winner of the Feeding Frenzy Screenwriting competition. His extensive stage credits range from Broadway's "King Hedley II" (performed as Mister, alongside Viola Davis and Leslie Uggams) , "A Few Good Men", "Prelude to a Kiss" to "Joe Turner's Come and Gone" and "Fences" at Kennedy Center, NY Public Theatre's "East Texas Hotlinks", Cleveland Playhouse's African American production of "The Glass Menagerie." His recent theatrical productions include the critically acclaimed performance in Los Angeles as the legendary jazz saxophonist, Charlie "Bird" Parker in "BIRD LIVES!" Under his belt, he also has 132 performances of the one-man show, "Thurgood" which was a hit at both the Pittsburgh Public Theatre and the Florida Studio Theatre. Other recent productions also include "The Road Weeps, the Well Runs Dry" at the Los Angeles Theatre Center (NAACP Best Ensemble Award) His relationship with August Wilson and his work extends back to when as a teen, Montae originated the role of Youngblood in the very first production of "Jitney" at the Allegheny Repertory Theatre in Pittsburgh. August later wrote a letter of recommendation for Montae, so that he could receive his conservatory actor training at Rutgers University's Mason Gross School of the Arts. Since then, Montae has performed in 9 of the 10 August Wilson "Pittsburgh Cycle" plays. In October 2015, he will appear in The Piano Lesson, and will become the first actor to do all 10 of the Wilson plays. He's a University of Pittsburgh grad; earned his MFA from Rutgers' Mason Gross School of the Arts. He's a member of Phi Beta Sigma Fraternity; is active in the South LA area with his non-profit organization Successful Youth Los Angeles. More info: MontaeRussell.net. When praises go up, you know the rest...
Montagu Love
Montague Love - certainly an intriguing name - but his own - started his working life as a newspaper man in London. His primary expertise centered on being a field illustrator and cartoonist who covered the Boer War (1899-1902). His realistic battle sketches gained him popularity among readers, but he was bound for a different career. He decided to become an actor. A robust man with a massive head of noble bearing and brooding lower lip, these were ingredients well suited to this goal. Love honed basic stage talents in London, and then made an early departure for the US in 1913 with a road-company production of Cyril Maude's "Grumpy." An early stop was Broadway, and he returned many times to appear in a laundry list of important plays from 1913 to 1934. Silent film studios of the early days were originally based in the East, and Love started his film career at World Studios, New Jersey in 1914. His silent career alone was prodigious-nearly a hundred films. His look and bearing were perfect for authoritative figures. And, though certainly taking on a whole spectrum of roles (sultan, native chiefs, many a doctor and military officer, among many others) he became famous for his bad guy characterizations through the 1920s. Some historians credit him as the best villain of the silent era. In 1926 he was nemesis to Rudolf Valentino in The Son of the Sheik (1926) and 'John Barrymore' in Don Juan (1926). The latter movie had the particular fame of sporting the longest sword duel in silent history between Love's Count Giano Donati and Barrymore's Don Juan. The fight filming was unique and realistic with middle and close shots looking directly at the individual combatants-with the appropriate blood in their eyes. The duel was all the more complex choreography for being one with swords and daggers (historically correct but rarely seen in film history). But Love was just as effective as the Roman centurion in The King of Kings (1927) by 'Cecil B DeMille'. Starting with Synthetic Sin (1929), Love's movies followed the trend of an increasing number of silent films using recorded music and some snatches of dialogue or background sound with the several incipient audio systems. Some movies originally issued as silent were released again with the process added. `Sin' was one of 11 films of 1929 featuring Love given the semi-sound treatment. The last of these was Jules Verne's The Mysterious Island (1929), very loosely adapted to the point of being hokey, but one of the first films also using the primitive two-color process. Love had a commanding, puckered-lip British delivery of speech which he could believably weld to any part, but it particularly fit characters of authority, as in the silent era. Into the 1930s, these were increasingly benign rather than despotic-always colonels and generals, prime ministers, American presidents - even Zorro's father. Perhaps his best known character tour de force displaying his genuine acting power was his Henry VIII in Prince and the Pauper (1937). It is hard to forget him in purple as the Bishop of the Black Canons in The Adventures of Robin Hood (1938). Sometimes, as with other veteran character actors, his roles were almost as featured extra-but his very costumed presence was all that was needed to lend realism. A very apt example was his Detchard, noble henchmen to 'Raymond Massey', in The Prisoner of Zenda (1937), in which he has little more than one line. He was still in demand in the early 1940s - ten roles in 1940 alone. But these slowed into the war years. By his passing in 1943, an actor who was considered as noble on screen as off, he had lent his voice as well as virtuoso acting skills to eighty-one additional films.