Actress. She is best remembered for her portrayal of the charming Granny Bayles in "The Twilight Zone" episode "Long Distance Call." After receiving her formal education at the prestigious Budapest Lyceum, she began her career as a leading lady on the stage in stock companies. Following her involvement in the Max Reinhardt Theatre Group, she immigrated to the United States in the late 1920s and soon developed nobility on Broadway appearing in such productions as "Jederman," "A Midsummer Night's Dream," "Danton's Tod," "Mrs. Warren's Profession," "Soldier's Wife," "Hamlet," "Bravo!," "The Hidden River," "House in Midstream," "Cheri," "The Waltz of the Toreadors," "First Love," "A Far Country," "The Miser," "My Mother, My Father, and Me," and "Les Blancs." Upon being introduced to director Ralph Barton while attending a social function at the Manhattan Center, he was so impressed by her hourglass figure, distinctive voice, and dark good looks, that he arranged for her to begin a career in the film industry beginning with her appearing under his supervision per a leading role in "Camille" (1926). From there, she would go on to flourish as a notable character actress appearing in over 35 features; often typecast as wives, mothers, relatives, old maids, dowagers, eccentrics, educators, white-collared workers, aristocrats, snobs, gossips, beauticians, literary or historical figures, immigrants, madams, authority figures, foreigners, and matriarchs. She appeared in such feature films as "Affairs of Maupassant" (1935), "The Land of Liberty" (1953), "Meet Me in Las Vegas" (1956), "Cimarron" (1960), "Twenty-Four Hours in a Woman's Life" (1961), and "Love" (1971). On television, she appeared in numerous guest spots on such syndicated sitcoms as "Crime Photographer," "Hands of Mystery," "Cosmopolitan Theatre," "Lux Video Theatre," "Danger," "Armstrong Circle Theatre," "Omnibus," "The Motorola Television Theatre," "Center Stage," "Justice," "Producers Showcase," "Appointment with Adventure," "Kraft Theatre," "The Philco Television Playhouse," "General Electric Theater," "Matinee Theatre," "Climax!," "The United States Steel Hour," "The Kaiser Aluminum Hour," "The Further Adventures of Ellery Queen," "Studio One," "Playhouse 90," "The Dupont Show with June Allyson," "Saints and Sinners," "Route 66," "The Man from U.N.C.L.E.," "The Doctors and the Nurses," and "The Good Guys." During her career, she was an honorary member of Actors Equity, had been supportive of the Motion Picture and Television Fund, was a member of the Screen Actors Guild, had been a naturalized United States citizen, had been a theatrical instructor for the Neighborhood Playhouse, was a regular parishioner of the Central Synagogue, had been a member of the Hollywood Democratic Committee, presided on her local chapters of the American Red Cross and Planned Parenthood, sat on the board of directors for the women's fashion division of Macy's Department Store, had been cited per gossip columnist Louella Parsons as being "Budapest's Greatest Export," was a 1971 nominee for the Tony Award for Best Supporting Actress, and she was married to playwright Ferenc Molnar from 1925 to 1952 (their union ended upon his death and produced no children). Following her final appearance on an episode of "NET Opera Theatre," she died shortly from the complications of a brief illness.