Trivia: The daughter of a traveling salesman, actress Carroll Baker joined a dance company after one year of college, then worked as a magician's assistant. After a brief marriage to a furrier, she went to Hollywood to act, but was unable to get anything more than a bit role (in 1953's Easy to Love) and so left for New York. At first finding work only in commercials (plus a walk-on in the Broadway play Escapade), in 1954 she enrolled at the Actors Studio; there she met director Jack Garfein, whom she married the following year (they were divorced in 1969). After her appearance in a few TV dramas and Robert Anderson's play All Summer Long (1955), she was noticed by Warner scouts and subsequently cast in James Dean's vehicle Giant (1956). Her success continued that same year when her role as the thumb-sucking wife in Baby Doll (1956) earned her an Academy Award nomination for Best Actress. She also delivered an exemplary lead performance in director Irving Rapper's The Miracle (1959). With the success of Marilyn Monroe, Hollywood started looking for other Monroe "types" and producers began grooming Baker for the role, as is evident from her work in such films as The Carpetbaggers (1964); in 1965, she played the doomed title role in the film Harlow, another attempt to cast her in the Monroe mold. However, she never caught on with American audiences; in the late 60s, she moved to Italy and began appearing in Italian productions. In 1977 she made her London stage debut in W. Somerset Maugham's Rain, then made a few Hollywood and UK pictures in the late 70s and 80s, as well as putting in a "camp" appearance in Andy Warhol's Bad (1977) and a more straightlaced role as the mother of Dorothy Stratten in Star 80.

Trivia: American character actor of stage, screen, and TV Lee J. Cobb, born Leo Jacob or Jacoby, was usually seen scowling and smoking a cigar. As a child, Cobb showed artistic promise as a virtuoso violinist, but any hope for a musical career was ended by a broken wrist. He ran away from home at age 17 and ended up in Hollywood. Unable to find film work there, he returned to New York and acted in radio dramas while going to night school at CCNY to learn accounting. Returning to California in 1931, he made his stage debut with the Pasadena Playhouse. Back in New York in 1935, he joined the celebrated Group Theater and appeared in several plays with them, including Waiting for Lefty and Golden Boy. He began his film career in 1937, going on to star and play supporting roles in dozens of films straight through to the end of his life. Cobb was most frequently cast as menacing villains, but sometimes appeared as a brooding business executive or community leader. His greatest triumph on stage came in the 1949 production of Arthur Miller's Death of a Salesman in which he played the lead role, Willy Loman (he repeated his performance in a 1966 TV version). Between 1962-66, he also appeared on TV in the role of Judge Garth in the long-running series The Virginian. He was twice nominated for "Best Supporting Actor" Oscars for his work in On the Waterfront (1954) and The Brothers Karamazov (1958).

Trivia: One of the cinema's most enduring actors, Henry Fonda enjoyed a highly successful career spanning close to a half century. Most often in association with director John Ford, he starred in many of the finest films of Hollywood's golden era. Born May 16, 1905, in Grand Island, NE, Fonda majored in journalism in college, and worked as an office boy before pursuing an interest in acting. He began his amateur career with the Omaha Community Playhouse, often performing with the mother of Marlon Brando. Upon becoming a professional performer in 1928, Fonda traveled east, tenuring with the Provincetown Players before signing on with the University Players Guild, a New England-based ensemble including up-and-comers like James Stewart, Margaret Sullavan, and Joshua Logan. Fonda's first Broadway appearance followed with 1929's The Game of Life and Death. He also worked in stock, and even served as a set designer. In 1931, Fonda and Sullavan were married, and the following year he appeared in I Loved You Wednesday. The couple divorced in 1933, and Fonda's big break soon followed in New Faces of '34. A leading role in The Farmer Takes a Wife was next, and when 20th Century Fox bought the film rights, they recruited him to reprise his performance opposite Janet Gaynor, resulting in his 1935 screen debut. Fonda and Gaynor were slated to reunite in the follow-up, Way Down East, but when she fell ill Rochelle Hudson stepped in. In 1936 he starred in The Trail of the Lonesome Pine (the first outdoor Technicolor production), the performance which forever defined his onscreen persona: Intense, insistent, and unflappable, he was also extraordinarily adaptable, and so virtually impossible to miscast. He next co-starred with Sullavan in The Moon's Our Home, followed by Wings of the Morning (another Technicolor milestone, this one the first British feature of its kind). For the great Fritz Lang, Fonda starred in 1937's You Only Live Once, and the following year co-starred with Bette Davis in William Wyler's much-celebrated Jezebel. His next critical success came as the titular Young Mr. Lincoln, a 1939 biopic directed by John Ford. The film was not a commercial sensation, but soon after Fonda and Ford reunited for Drums Along the Mohawk, a tremendous success. Ford then tapped him to star as Tom Joad in the 1940 adaptation of John Steinbeck's The Grapes of Wrath, a casting decision which even Steinbeck himself wholeheartedly supported. However, 20th Century Fox's Darryl Zanuck wanted Tyrone Power for the role, and only agreed to assign Fonda if the actor signed a long-term contract. Fonda signed, and Zanuck vowed to make him the studio's top star -- it didn't happen, however, and despite the success of The Grapes of Wrath (for which he scored his first Best Actor Academy Award nomination), his tenure at Fox was largely unhappy and unproductive.The best of Fonda's follow-up vehicles was the 1941 Preston Sturges comedy The Lady Eve, made at Paramount on loan from Fox; his co-star, Barbara Stanwyck, also appeared with him in You Belong to Me. After a number of disappointing projects, Fox finally assigned him to a classic, William Wellman's 1943 Western The Ox-Bow Incident. Studio executives reportedly hated the film, however, until it won a number of awards. After starring in The Immortal Sergeant, Fonda joined the navy to battle in World War II. Upon his return, he still owed Fox three films, beginning with Ford's great 1946 Western My Darling Clementine. At RKO he starred in 1947's The Long Night, followed by Fox's Daisy Kenyon. Again at RKO, he headlined Ford's The Fugitive, finally fulfilling his studio obligations with Ford's Fort Apache, his first unsympathetic character. Fonda refused to sign a new contract and effectively left film work for the next seven years, returning to Broadway for lengthy runs in Mister Roberts, Point of No Return, and The Caine Mutiny Court Martial. Outside of cameo roles in a handful of pictures, Fonda did not fully return to films until he agreed to reprise his performance in the 1955 screen adaptation of Mister Roberts, one of the year's biggest hits. Clearly, he had been greatly missed during his stage exile, and offers flooded in. First there was 1956's War and Peace, followed by Alfred Hitchcock's The Wrong Man. In 1957, Fonda produced as well as starred in the Sidney Lumet classic Twelve Angry Men, but despite a flurry of critical acclaim the film was a financial disaster. In 1958, after reteaming with Lumet on Stage Struck, Fonda returned to Broadway to star in Two for the Seesaw, and over the years to come he alternated between projects on the screen (The Man Who Understood Women, Advise and Consent, The Longest Day) with work on-stage (Silent Night, Lonely Night, Critic's Choice, Gift of Time). From 1959 to 1961, he also starred in a well-received television series, The Deputy.By the mid-'60s, Fonda's frequent absences from the cinema had severely hampered his ability to carry a film. Of his many pictures from the period, only 1965's The Battle of the Bulge performed respectably at the box office. After 1967's Welcome to Hard Times also met with audience resistance, Fonda returned to television to star in the Western Stranger on the Run. After appearing in the 1968 Don Siegel thriller Madigan, he next starred opposite Lucille Ball in Yours, Mine and Ours, a well-received comedy. Fonda next filmed Sergio Leone's Once Upon a Time in the West; while regarded as a classic, the actor so loathed the experience that he refused to ever discuss the project again. With his old friend, James Stewart, he starred in The Cheyenne Social Club before agreeing to a second TV series, the police drama Smith, in 1971. That same year, he was cast to appear as Paul Newman's father in Sometimes a Great Notion.After a pair of TV movies, 1973's The Red Pony and The Alpha Stone, Fonda began a series of European productions which included the disastrous Ash Wednesday and Il Mio Nome è Nessuno. He did not fare much better upon returning to Hollywood; after rejecting Network (the role which won Peter Finch an Oscar), Fonda instead appeared in the Sensurround war epic Midway, followed by The Great Smokey Roadblock. More TV projects followed, including the miniseries Roots -- The Next Generation. Between 1978 and 1979, he also appeared in three consecutive disaster movies: The Swarm, City on Fire, and Meteor. Better received was Billy Wilder's 1978 film Fedora. A year later, he also co-starred with his son, Peter Fonda, in Wanda Nevada. His final project was the 1981 drama On Golden Pond, a film co-starring and initiated by his daughter, Jane Fonda; as an aging professor in the twilight of his years, he finally won the Best Actor Oscar so long due him. Sadly, Fonda was hospitalized at the time of the Oscar ceremony, and died just months later on August 12, 1982.

Trivia: The son of Yugoslav immigrants, Karl Malden labored in the steel mills of Gary, Indiana before enrolling in Arkansas State Teachers College. While not a prime candidate for stardom with his oversized nose and bullhorn voice, Malden attended Chicago's Goodman Dramatic School, then moved to New York, where he made his Broadway bow in 1937. Three years later he made his film debut in a microscopic role in They Knew What They Wanted (1940), which also featured another star-to-be, Tom Ewell. While serving in the Army Air Force during World War II, Malden returned to films in the all-serviceman epic Winged Victory (1944), where he was billed as Corporal Karl Malden. This led to a brief contract with 20th Century-Fox -- but not to Hollywood, since Malden's subsequent film appearances were lensed on the east coast. In 1947, Malden created the role of Mitch, the erstwhile beau of Blanche Dubois, in Tennessee Williams' Broadway play A Streetcar Named Desire; he repeated the role in the 1951 film version, winning an Oscar in the process. For much of his film career, Malden has been assigned roles that called for excesses of ham; even his Oscar-nominated performance in On the Waterfront (1954) was decidedly "Armour Star" in concept and execution. In 1957, he directed the Korean War melodrama Time Limit, the only instance in which the forceful and opinionated Malden was officially credited as director. Malden was best known to TV fans of the 1970s as Lieutenant Mike Stone, the no-nonsense protagonist of the longrunning cop series The Streets of San Francisco. Still wearing his familiar Streets hat and overcoat, Malden supplemented his income with a series of ads for American Express. His commercial catchphrases "What will you do?" and "Don't leave home without it!" soon entered the lexicon of TV trivia -- and provided endless fodder for such comedians as Johnny Carson. From 1989-92, Malden served as president of the Academy of Motion Picture Arts and Sciences.

Trivia: One of the postwar era's most successful actors, Gregory Peck was long the moral conscience of the silver screen; almost without exception, his performances embodied the virtues of strength, conviction, and intelligence so highly valued by American audiences. As the studios' iron grip on Hollywood began to loosen, he also emerged among the very first stars to declare his creative independence, working almost solely in movies of his own choosing. Born April 5, 1916, in La Jolla, CA, Peck worked as a truck driver before attending Berkeley, where he first began acting. He later relocated to New York City and was a barker at the 1939 World's Fair. He soon won a two-year contract with the Neighborhood Playhouse. His first professional work was in association with a 1942 Katherine Cornell/Guthrie McClintic ensemble Broadway production of The Morning Star. There Peck was spotted by David O. Selznick, for whom he screen-tested, only to be turned down. Over the next year, he played a double role in The Willow and I, fielding and rejecting the occasional film offer. Finally, in 1943, he accepted a role in Days of Glory, appearing opposite then-fiancée Tamara Toumanova. While the picture itself was largely dismissed, Peck found himself at the center of a studio bidding war. He finally signed with 20th Century Fox, who cast him in 1944's The Keys of the Kingdom - a turn for which he snagged his first of many Oscar nods. From the outset, he enjoyed unique leverage as a performer; he refused to sign a long-term contract with any one studio, and selected all of his scripts himself. For MGM, he starred in 1945's The Valley of Decision, a major hit. Even more impressive was the follow-up, Alfred Hitchcock's Spellbound, which co-starred Ingrid Bergman. Peck scored a rousing success with 1946's The Yearling (which brought him his second Academy Award nomination) and followed this up with another smash, King Vidor's Duel in the Sun. His third Oscar nomination arrived via Elia Kazan's 1947 social drama Gentleman's Agreement, a meditation on anti-Semitism which won Best Picture honors. For the follow-up, Peck reunited with Hitchcock for The Paradine Case, one of the few flops on either's resumé. He returned in 1948 with a William Wellman Western, Yellow Sky, before signing for a pair of films with director Henry King, Twelve O'Clock High (earning Best Actor laurels from the New York critics and his fourth Oscar nod) and The Gunfighter. After Captain Horatio Hornblower, Peck appeared in the Biblical epic David and Bathsheba, one of 1951's biggest box-office hits. Upon turning down High Noon, he starred in The Snows of Kilimanjaro. To earn a tax exemption, he spent the next 18 months in Europe, there shooting 1953's Roman Holiday for William Wyler. After filming 1954's Night People, Peck traveled to Britain, where he starred in a pair of features for Rank -- The Million Pound Note and The Purple Plain -- neither of which performed well at the box office; however, upon returning stateside he starred in the smash The Man in the Gray Flannel Suit. The 1958 Western The Big Country was his next major hit, and he quickly followed it with another, The Bravados. Few enjoyed Peck's portrayal of F. Scott Fitzgerald in 1959's Beloved Infidel, but the other two films he made that year, the Korean War drama Pork Chop Hill and Stanley Kramer's post-apocalyptic nightmare On the Beach, were both much more successful. Still, 1961's World War II adventure The Guns of Navarone topped them all -- indeed, it was among the highest-grossing pictures in film history. A vicious film noir, Cape Fear, followed in 1962, as did Robert Mulligan's classic adaptation of To Kill a Mockingbird; as Atticus Finch, an idealistic Southern attorney defending a black man charged with rape, Peck finally won an Academy Award. Also that year he co-starred in the Cinerama epic How the West Was Won, yet another massive success. However, it was to be Peck's last for many years. For Fred Zinneman, he starred in 1964's Behold a Pale Horse, miscast as a Spanish loyalist, followed by Captain Newman, M.D., a comedy with Tony Curtis which performed only moderately well. When 1966's Mirage and Arabesque disappeared from theaters almost unnoticed, Peck spent the next three years absent from the screen. When he returned in 1969, however, it was with no less than four new films -- The Stalking Moon, MacKenna's Gold, The Chairman, and Marooned -- all of them poorly received.The early '70s proved no better: First up was I Walk the Line, with Tuesday Weld, followed the next year by Henry Hathaway's Shootout. After the failure of the 1973 Western Billy Two Hats, he again vanished from cinemas for three years, producing (but not appearing in) The Dove. However, in 1976, Peck starred in the horror film The Omen, an unexpected smash. Studio interest was rekindled, and in 1977 he portrayed MacArthur. The Boys From Brazil followed, with Peck essaying a villainous role for the first time in his screen career. After 1981's The Sea Wolves, he turned for the first time to television, headlining the telefilm The Scarlet and the Black. Remaining on the small screen, he portrayed Abraham Lincoln in the 1985 miniseries The Blue and the Grey, returning to theater for 1987's little-seen anti-nuclear fable Amazing Grace and Chuck. Old Gringo followed two years later, and in 1991 he co-starred in a pair of high-profile projects, the Norman Jewison comedy Other People's Money and Martin Scorsese's remake of Cape Fear. Fairly active through the remainder of the decade, Peck appeared in The Portrait (1993) and the made-for-television Moby Dick (1998) while frequently narrating such documentaries as Wild Bill: Hollywood Maverick (1995) and American Prophet: The Story of Joseph Smith (2000).On June 12, 2003, just days after the AFI named him as the screen's greatest hero for his role as Atticus Finch in To Kill a Mockingbird, Gregory Peck died peacefully in his Los Angeles home with his wife Veronique by his side. He was 87.

Trivia: Though actor George Peppard could have succeeded on his looks alone, he underwent extensive training before making his first TV and Broadway appearances. The son of a building contractor and a singer, Peppard studied acting at Carnegie Tech and the Actor's Studio. His early TV credits include the original 1956 production of Bang the Drum Slowly, in which he sang the title song. He made his film debut in 1957, repeating his Broadway role in Calder Willingham's End As a Man, retitled The Strange One for the screen. His star continued to ascend in such films as Home From the Hill (1960) with George Hamilton, and Breakfast at Tiffany's (1961) as the boyfriend/chronicler of carefree Holly Golightly (Audrey Hepburn). He was also effective as James Stewart's son in How the West Was Won (1962), a characterization that required him to age 30 years, and as the Howard Hughes counterpart in The Carpetbaggers (1963), in which he co-starred with the second of his five wives, Elizabeth Ashley. In 1978 he made a respectable directorial debut with Five Days From Home, but never followed up on this. A familiar television presence, he starred on the TV series Banacek (1972-1973), Doctors Hospital (1975), and The A-Team (1983-1987), and delivered a powerhouse performance as the title character in the 1974 TV-movie Guilty or Innocent: The Sam Sheppard Case. Forced to retire because of illness, George Peppard died of cancer in the spring of 1994.

Trivia: A vital, virile, exciting Broadway performer, Preston was once called, "the best American actor -- with a voice like golden thunder," by Richard Burton. He decided to become an actor at age 15. After studying acting at the Pasadena Playhouse, he became a steady, dependable performer in Hollywood films from the late '30s. Preston became well-known after Cecil B. De Mille cast him as Barbara Stanwyck's gambler husband in Union Pacific (1939). He was almost strictly a second-lead actor for 20 years, finally breaking through to lead roles after becoming a star on Broadway. For his Broadway performance (his first in a musical) as ebullient con-artist Harold Hill in The Music Man he won a Tony Award; he repeated the role in the screen version (1962) and it became the work for which he is best known. Preston went on to earn another Tony Award for his performance in the 1966 musical I Do! I Do!, opposite Mary Martin. Another outstanding performance was as Julie Andrews' gay friend Toddie in Blake Edwards' Victor/Victoria (1982), a performance which earned him a Best Supporting Actor Oscar nomination.

Trivia: At the peak of her career, actress Debbie Reynolds was America's sweetheart, the archetypal girl-next-door. Best remembered for her work in Hollywood musicals, she appeared in the genre's defining moment, Singin' in the Rain, as well as many other notable successes. Born Mary Frances Reynolds on April 1, 1932, in El Paso, TX, she entered the film industry by winning the Miss Burbank beauty contest in 1948, resulting in a contract with Warner Bros. However, the studio cast her in small roles in only two films -- 1948's The June Bride and 1950's The Daughter of Rosie O'Grady -- and she soon exited for the greener pastures of MGM, where she first appeared in Three Little Words. A more significant turn in 1950's Two Weeks With Love garnered Reynolds strong notices, and soon she was touted as the new Judy Garland, with a role in 1951's Mr. Imperium also on the horizon.Though star Gene Kelly initially opposed her casting in his 1952 musical Singin' in the Rain, Reynolds acquitted herself more than admirably alongside the likes of Donald O'Connor and Jean Hagen, and the film remains one of the greatest Hollywood musicals ever produced. A series of less distinguished musicals followed, among them 1953's I Love Melvin, The Affairs of Dobie Gillis, and Give a Girl a Break. On loan to RKO, she scored a major success in 1954's Susan Slept Here, and upon returning to MGM she was awarded with a new and improved seven-year contract. However, the studio continued to insert Reynolds into lackluster projects like the health-fad satire Athena and the musical Hit the Deck. Finally, in 1955, she appeared opposite Frank Sinatra in the hit The Tender Trap, followed by a well-regarded turn as a blushing bride in The Catered Affair a year later.Additionally, Reynolds teamed with real-life husband Eddie Fisher in the musical Bundle of Joy. The couple's children also went on to showbiz success: Daughter Carrie Fisher became a popular actress, novelist, and screenwriter, while son Todd became a director. In 1957, Reynolds starred in Tammy and the Bachelor, the first in a series of popular teen films which also included 1961's Tammy Tell Me True, 1963's Tammy and the Doctor, and 1967's Tammy and the Millionaire. Her other well-received films of the period included 1959's It Started With a Kiss, 1961's The Pleasure of His Company, and 1964's The Unsinkable Molly Brown, for which she earned an Academy Award nomination. In 1959, Reynolds' marriage to Fisher ended in divorce when he left her for Elizabeth Taylor. The effect was an outpouring of public sympathy which only further increased her growing popularity, and it was rumored that by the early '60s, she was earning millions per picture. By the middle of the decade, however, Reynolds' star was waning. While described by the actress herself as her favorite film, 1966's The Singing Nun was not the hit MGM anticipated. Its failure finally convinced the studio to offer her roles closer to her own age, but neither 1967's Divorce American Style nor the next year's How Sweet It Is performed well, and Reynolds disappeared from the screen to mount her own television series, the short-lived Debbie Reynolds Show. In 1971, she appeared against type in the campy horror picture What's the Matter with Helen?, but when it too failed, she essentially retired from movie making, accepting voice-over work as the title character in the animated children's film Charlotte's Web but otherwise remaining away from Hollywood for over a decade.Reynolds then hit the nightclub circuit, additionally appearing on Broadway in 1974's Irene. In 1977, she also starred in Annie Get Your Gun. By the 1980s, Reynolds had become a fixture in Las Vegas, where she ultimately opened her own hotel and casino, regularly performing live in the venue's nightclub and even opening her own museum of Hollywood memorabilia. In 1987, she reappeared in front of the camera for the first time in years in the TV movie Sadie and Son, followed in 1989 by Perry Mason: The Case of the Musical Murder. In 1992, Reynolds appeared briefly as herself in the hit film The Bodyguard, and a small role in Oliver Stone's 1993 Vietnam tale Heaven and Earth marked her second tentative step toward returning to Hollywood on a regular basis. Finally, in 1996 she accepted the title role in the acclaimed Albert Brooks comedy Mother, delivering what many critics declared the best performance of her career. The comedies Wedding Bell Blues and In and Out followed in 1996 and 1997. She continued to work in animated projects, and often allowed herself to be interviewed for documentaries about movie and dance history. She made a cameo as herself in Connie and Carla, and in 2012 she had her most high-profile gig in quite some time when she was cast as Grandma Mazur in One for the Money. In 2015, Reynolds was awarded the Jean Hersholt Humanitarian Award by the Academy of Motion Picture Arts and Sciences. Reynolds died in 2016, at age 84, just one day after her daughter Carrie Fisher died.

Trivia: Long before earning his B.A. from the University of Texas and his M.A. in Education from C.C.N.Y., Eli Wallach made his first on-stage appearance in a 1930 amateur production. After World War II service and intensive training at New York's Neighborhood Playhouse, the bumpy-nosed, gravel-voiced Wallach debuted on Broadway in Skydrift (1945). In 1951, he won a Tony award for his portrayal of Alvaro Mangiaco in Tennessee Williams' The Rose Tattoo. Though a staunch advocate of "The Method," Wallach could never be accused of being too introspective on-stage; in fact, his acting at times was downright ripe -- but deliciously so. He made his screen debut in Baby Doll (1956) playing another of Tennessee Williams' abrasive Latins, in this instance the duplicitous Silva Vaccaro; this performance earned Wallach the British equivalent of the Oscar. He spent the bulk of his screen time indulging in various brands of villainy, usually sporting an exotic accent (e.g., bandit leader Calvera in The Magnificent Seven [1960]). Perhaps his most antisocial onscreen act was the kidnapping of Hayley Mills in The Moon-Spinners (1965). Even when playing someone on "our" side, Wallach usually managed to make his character as prickly as possible: a prime example is Sgt. Craig in The Victors (1963), who manages to be vituperative and insulting even after his face is blown away. Busy on stage, screen, and TV into the 1990s, Wallach has played such unsavory types as a senile, half-blind hitman in Tough Guys (1986) and candy-munching Mafioso Don Altobello in The Godfather III (1990). He continued to work steadily into the 1990s with parts in the Chinatown sequel The Two Jakes, the remake of Night and the City, Article 99, and narrating a number of documentaries. He didn't slow down much at all during the 21st century, appearing in the comedy Keepin the Faith, Clint Eastwood's Oscar Winning Mystic River, and The Hoax. In 2010 he acted for Roman Polanski in his thriller The Ghost Writer, and for Oliver Stone in Wall Street: Money Never Sleeps, which was to be his last film role; Wallach died in 2014 at age 98.His television work has included an Emmy-winning performance in the 1967 all-star TV movie The Poppy Is Also a Flower and the continuing role of mob patriarch Vincent Danzig in Our Family Honor. Married since 1948 to actress Anne Jackson, Wallach has appeared on-stage with his wife in such plays as The Typists and the Tiger, Luv, and Next, and co-starred with her in the 1967 comedy film The Tiger Makes Out. Eli Wallach and Anne Jackson are the parents of special effects director Peter Wallach.

Trivia: Arguably the most popular -- and certainly the busiest -- movie leading man in Hollywood history, John Wayne entered the film business while working as a laborer on the Fox lot during summer vacations from U.S.C., which he attended on a football scholarship. He met and was befriended by John Ford, a young director who was beginning to make a name for himself in action films, comedies, and dramas. Wayne was cast in small roles in Ford's late-'20s films, occasionally under the name Duke Morrison. It was Ford who recommended Wayne to director Raoul Walsh for the male lead in the 1930 epic Western The Big Trail, and, although it was a failure at the box office, the movie showed Wayne's potential as a leading man. During the next nine years, be busied himself in a multitude of B-Westerns and serials -- most notably Shadow of the Eagle and The Three Mesquiteers series -- in between occasional bit parts in larger features such as Warner Bros.' Baby Face, starring Barbara Stanwyck. But it was in action roles that Wayne excelled, exuding a warm and imposing manliness onscreen to which both men and women could respond. In 1939, Ford cast Wayne as the Ringo Kid in the adventure Stagecoach, a brilliant Western of modest scale but tremendous power (and incalculable importance to the genre), and the actor finally showed what he could do. Wayne nearly stole a picture filled with Oscar-caliber performances, and his career was made. He starred in most of Ford's subsequent major films, whether Westerns (Fort Apache [1948], She Wore a Yellow Ribbon [1949], Rio Grande [1950], The Searchers [1956]); war pictures (They Were Expendable [1945]); or serious dramas (The Quiet Man [1952], in which Wayne also directed some of the action sequences). He also starred in numerous movies for other directors, including several extremely popular World War II thrillers (Flying Tigers [1942], Back to Bataan [1945], Fighting Seabees [1944], Sands of Iwo Jima [1949]); costume action films (Reap the Wild Wind [1942], Wake of the Red Witch [1949]); and Westerns (Red River [1948]). His box-office popularity rose steadily through the 1940s, and by the beginning of the 1950s he'd also begun producing movies through his company Wayne-Fellowes, later Batjac, in association with his sons Michael and Patrick (who also became an actor). Most of these films were extremely successful, and included such titles as Angel and the Badman (1947), Island in the Sky (1953), The High and the Mighty (1954), and Hondo (1953). The 1958 Western Rio Bravo, directed by Howard Hawks, proved so popular that it was remade by Hawks and Wayne twice, once as El Dorado and later as Rio Lobo. At the end of the 1950s, Wayne began taking on bigger films, most notably The Alamo (1960), which he produced and directed, as well as starred in. It was well received but had to be cut to sustain any box-office success (the film was restored to full length in 1992). During the early '60s, concerned over the growing liberal slant in American politics, Wayne emerged as a spokesman for conservative causes, especially support for America's role in Vietnam, which put him at odds with a new generation of journalists and film critics. Coupled with his advancing age, and a seeming tendency to overact, he became a target for liberals and leftists. However, his movies remained popular. McLintock!, which, despite well-articulated statements against racism and the mistreatment of Native Americans, and in support of environmentalism, seemed to confirm the left's worst fears, but also earned more than ten million dollars and made the list of top-grossing films of 1963-1964. Virtually all of his subsequent movies, including the pro-Vietnam War drama The Green Berets (1968), were very popular with audiences, but not with critics. Further controversy erupted with the release of The Cowboys, which outraged liberals with its seeming justification of violence as a solution to lawlessness, but it was successful enough to generate a short-lived television series. Amid all of the shouting and agonizing over his politics, Wayne won an Oscar for his role as marshal Rooster Cogburn in True Grit, a part that he later reprised in a sequel. Wayne weathered the Vietnam War, but, by then, time had become his enemy. His action films saw him working alongside increasingly younger co-stars, and the decline in popularity of the Western ended up putting him into awkward contemporary action films like McQ (1974). Following his final film, The Shootist (1976) -- possibly his best Western since The Searchers -- the news that Wayne was stricken ill with cancer (which eventually took his life in 1979) wiped the slate clean, and his support for the Panama Canal Treaty at the end of the 1970s belatedly made him a hero for the left. Wayne finished his life honored by the film community, the U.S. Congress, and the American people as had no actor before or since. He remains among the most popular actors of his generation, as evidenced by the continual rereleases of his films on home video.

Trivia: The son of a traveling salesman, actor Richard Widmark had lived in six different Midwestern towns by the time he was a teenager. He entered Illinois' Lake Forest College with plans to earn a law degree, but gravitated instead to the college's theater department. He stayed on after graduation as a drama instructor, then headed to New York to find professional work. From 1938 through 1947, Widmark was one of the busiest and most successful actors in radio, appearing in a wide variety of roles from benign to menacing, and starring in the daytime soap opera "Front Page Farrell." He did so well in radio that he'd later quip, "I am the only actor who left a mansion and swimming pool to head to Hollywood." Widmark's first stage appearance was in Long Island summer stock; in 1943, he starred in the Broadway production of Kiss and Tell, and was subsequently top billed in four other New York shows. When director Henry Hathaway was looking for Broadway-based actors to appear in his melodrama Kiss of Death (1947), Widmark won the role of giggling, psychopathic gangster Tommy Udo. And the moment his character pushed a wheelchair-bound old woman down a staircase, a movie star was born. (Widmark always found it amusing that he'd become an audience favorite by playing a homicidal creep, noting with only slightly less amusement that, after the release of the film, women would stop him on the street and smack his face, yelling, "Take that, you little squirt!") The actor signed a 20th Century Fox contract and moved to Hollywood on the proviso that he not be confined to villainous roles; the first of his many sympathetic, heroic movie parts was in 1949's Down to the Sea in Ships. After his Fox contract ended in 1954, Widmark freelanced in such films as The Cobweb (1955) and Saint Joan (1957), the latter representing one of the few times that the actor was uncomfortably miscast (as the childish Dauphin). In 1957, Widmark formed his own company, Heath Productions; its first effort was Time Limit, directed by Widmark's old friend Karl Malden. Widmark spent most of the 1960s making films like The Alamo (1960) and Cheyenne Autumn (1964), so that he could afford to appear in movies that put forth a political or sociological message. These included Judgment at Nuremberg (1961) and The Bedford Incident (1965). A longtime television holdout, Widmark made his small-screen debut in Vanished (1970), the first two-part TV movie. He later starred in a 1972 series based upon his 1968 theatrical film Madigan. And, in 1989, he was successfully teamed with Faye Dunaway in the made-for-cable Cold Sassy Tree. Richard Widmark was married for 55 years to Jean Hazelwood, a former actress and occasional screenwriter who wrote the script for her husband's 1961 film The Secret Ways (1961). Their daughter Anne married '60s baseball star Sandy Koufax. Widmark died at age 93 in 2008, of health complications following a fractured vertebra.

Trivia: Brigid Bazlen only ever made three movies, but because two of them -- King of Kings and How the West Was Won -- remain perennially popular early-'60s blockbusters, she is seen quite regularly in those parts by millions of viewers every year. Bazlen was dubbed "the next Elizabeth Taylor" when she was all of 15 years old, by which time she had nearly a decade under her belt as a professional actress. The daughter of Arthur Bazlen, a retail chain executive, and Maggie Daly, a newspaper columnist from Chicago, her aunts were the performing Daly Sisters, Maureen, Kay, and Sheila. Brigid Bazlen was first discovered at the age of seven, when she was seen by an executive from NBC while waiting for the school bus in front of her house. At the time, the network was in the process of casting a then-groundbreaking soap opera called Hawkins Falls, to be produced in Chicago, and this man asked to test her for the role of the daughter of the principal couple, played by Maurice Copeland and Bernadine Flynn. Her mother initially refused but later relented and allowed the girl to have a walk-on part -- she tested so well with the sponsors and audiences that she became a regular on the show for two seasons; on surviving kinescopes, even at that age, Bazlen looks hauntingly beautiful and beguiling in the role. After Hawkins Falls was cancelled two years later, Bazlen became the star of a children's program called The Blue Fairy, broadcast by WGN of Chicago, which won a Peabody Award in 1958. By that time, columnist Hedda Hopper had declared her "the Celtic Alice in Wonderland," and work was hers for the asking. Paddy Chayefsky wanted her for his Broadway play The Dybbuk of Woodlawn (which her mother declined) and Otto Preminger asked for her in a role in his planned shooting of Exodus, while Richard Rodgers and Oscar Hammerstein wanted her for a co-starring role with Mary Martin in a theatrical production, The Sound of Music. All of those offers were turned down by her mother, but the now-14-year-old Bazlen was cast by producer David Susskind in the live network drama Too Young to Go Steady. At five-foot-four and weighing 87 pounds, with haunting dark amber eyes, she was a precociously attractive teenager, which is how Bazlen came to enter into movies, at age 16, when she was cast as Salome in Samuel Bronston's production of King of Kings. The choice was probably not a wise one, for although there were some good elements in the movie, expecting the 16-year-old Bazlen to make a mark in a role as significant as that was absurd and her work was ridiculed in many critical circles (and in his memoirs by composer Miklos Rozsa, who had to score her dance sequence), along with many other aspects of the film. Bazlen's movie career seemed to sputter at that point, possibly also due to an ineffectual campaign by MGM to promote her as "the new American Bardot." In 1962, she was cast as the temptress daughter of river pirate Walter Brennan in How the West Was Won and that same year finally moved up to co-starring status, alongside Steve McQueen, in The Honeymoon Machine, a caper comedy. Bazlen never made another movie but frequently appeared on stage in Chicago until 1966, when she married singer Jean-Paul Vignon and gave up performing. The couple later divorced after having one child, Marguerite Vignon. Her mother later said that Bazlen had lost interest in acting as she grew older. The former actress died of cancer in 1989, several years after moving to Seattle, WA.

Trivia: It had originally been the hope of Walter Brennan (and his family) that he would follow in the footsteps of his father, an engineer; but while still a student, he was bitten by the acting bug and was already at a crossroads when he graduated in 1915. Brennan had already worked in vaudeville when he enlisted at age 22 to serve in World War I. He served in an artillery unit and although he got through the war without being wounded, his exposure to poison gas ruined his vocal chords, leaving him with the high-pitched voice texture that made him a natural for old man roles while still in his thirties. His health all but broken by the experience, Brennan moved to California in the hope that the warm climate would help him and he lost most of what money he had when land values in the state collapsed in 1925. It was the need for cash that drove him to the gates of the studios that year, for which he worked as an extra and bit player. The advent of the talkies served Brennan well, as he had been mimicking accents in childhood and could imitate a variety of different ethnicities on request. It was also during this period that, in an accident during a shoot, another actor (some stories claimed it was a mule) kicked him in the mouth and cost him his front teeth. Brennan was fitted for a set of false teeth that worked fine, and wearing them allowed him to play lean, lanky, virile supporting roles; but when he took them out, and the reedy, leathery voice kicked in with the altered look, Brennan became the old codger with which he would be identified in a significant number of his parts in the coming decades. He can be spotted in tiny, anonymous roles in a multitude of early-'30s movies, including King Kong (1933) (as a reporter) and one Three Stooges short. In 1935, however, he was fortunate enough to be cast in the supporting role of Jenkins in The Wedding Night. Directed by King Vidor and produced by Samuel Goldwyn, it was supposed to launch Anna Sten (its female lead) to stardom; but instead, it was Brennan who got noticed by the critics. He was put under contract with Goldwyn, and was back the same year as Old Atrocity in Barbary Coast. He continued doing bit parts, but after 1935, his films grew fewer in number and the parts much bigger. It was in the rustic drama Come and Get It (1936) that Brennan won his first Academy Award as Best Supporting Actor. Two years later, he won a second Best Supporting Actor Oscar for his performance in Kentucky (1938). That same year, he played major supporting roles in The Texans and The Buccaneer, and delighted younger audiences with his moving portrayal of Muff Potter, the man wrongfully accused of murder in Norman Taurog's The Adventures of Tom Sawyer. Brennan worked only in high-profile movies from then on, including The Story of Vernon and Irene Castle, Stanley and Livingston, and Goldwyn's They Shall Have Music, all in 1939. In 1940, he rejoined Gary Cooper in The Westerner, playing the part of a notoriously corrupt judge. Giving a beautifully understated performance that made the character seem sympathetic and tragic as much as dangerous and reprehensible, he won his third Best Supporting Actor award. There was no looking back now, as Brennan joined the front rank of leading character actors. His ethnic portrayals gradually tapered off as Brennan took on parts geared specifically for him. In Frank Capra's Meet John Doe and Howard Hawks' Sergeant York (both 1941), he played clear-thinking, key supporting players to leading men, while in Jean Renoir's Swamp Water (released that same year), he played another virtual leading role as a haunted man driven by demons that almost push him to murder. He played only in major movies from that point on, and always in important roles. Sam Wood used him in Goldwyn's The Pride of the Yankees (1942), Lewis Milestone cast him as a Russian villager in The North Star (1943), and he was in Goldwyn's production of The Princess and the Pirate (1944) as a comical half-wit who managed to hold his own working alongside Bob Hope. Brennan played the choice role of Ike Clanton in Ford's My Darling Clementine (1946) and reprised his portrayal of an outlaw clan leader in more comic fashion in Burt Kennedy's Support Your Local Sheriff some 23 years later. He worked with Cooper again on Delmer Daves' Task Force (1949) and played prominent roles in John Sturges' Bad Day at Black Rock and Anthony Mann's The Far Country (both 1955). In 1959, the 64-year-old Brennan got one of the biggest roles of his career in Hawks' Rio Bravo, playing Stumpy, the game-legged jailhouse keeper who is backing up the besieged sheriff. By that time, Brennan had moved to television, starring in the CBS series The Real McCoys, which became a six-season hit built around his portrayal of the cantankerous family patriarch Amos McCoy. The series was such a hit that John Wayne's production company was persuaded to release a previously shelved film, William Wellman's Goodbye, My Lady (1956), about a boy, an old man (played by Brennan), and a dog, during the show's run. Although he had disputes with the network and stayed a season longer than he had wanted, Brennan also liked the spotlight. He even enjoyed a brief, successful career as a recording artist on the Columbia Records label during the 1960s. Following the cancellation of The Real McCoys, Brennan starred in the short-lived series The Tycoon, playing a cantankerous, independent-minded multimillionaire who refuses to behave the way his family or his company's board of directors think a 70-year-old should. By this time, Brennan had become one of the more successful actors in Hollywood, with a 12,000-acre ranch in Northern California that was run by his sons, among other property. He'd invested wisely and also owned a share of his first series. Always an ideological conservative, it was during this period that his political views began taking a sharp turn to the right in response to the strife he saw around him. During the '60s, he was convinced that the anti-war and civil rights movements were being run by overseas communists -- and said as much in interviews. He told reporters that he believed the civil rights movement, in particular, and the riots in places like Watts and Newark, and demonstrations in Birmingham, AL, were the result of perfectly content "Negroes" being stirred up by a handful of trouble-makers with an anti-American agenda. Those on the set of his last series, The Guns of Will Sonnett -- in which he played the surprisingly complex role of an ex-army scout trying to undo the damage caused by his being a mostly absentee father -- say that he cackled with delight upon learning of Martin Luther King Jr.'s assassination in 1968. Brennan later worked on the 1972 presidential campaign of reactionary right-wing California Congressman John Schmitz, a nominee of the American Party, whose campaign was predicated on the notion that the Republican Party under Richard Nixon had become too moderate. Mostly, though, Brennan was known to the public for his lovable, sometimes comical screen persona, and was still working as the '60s drew to a close, on made-for-TV movies such as The Over-the-Hill Gang, which reunited him with one of his favorite directors, Jean Yarbrough, and his old stablemate Chill Wills. Brennan died of emphysema in 1974 at the age of 80.

Trivia: Authoritative leading man David Brian had previously been a musical comedy performer when signed by Warner Bros. in 1949. His first role was as the unbilled "host" of the 1949 reissue of Warners' 1935 G-Men, but within a few months he was starring opposite Joan Crawford (Flamingo Road) and Bette Davis (Beyond the Forest). Loaned out to MGM, Brian delivered one of his finest performances as the civil libertarian lawyer in Intruder in the Dust (1949). In films until the early 1970s, Brian was also a prominent TV actor, starring in the syndicated Mr. District Attorney (1954-1955, repeating his radio role) and appearing as villainous billionaire Arthur Maitland in the Christopher George series The Immortal (1970). David Brian was the husband of actress Adrian Booth, aka Lorna Gray.

Trivia: Andy Devine was born in Kingman, Arizona, where his father ran a hotel. During his youth, Devine was a self-confessed hellraiser, and stories of his rowdy antics are still part of Kingman folklore (though they've undoubtedly improved in the telling). His trademarked ratchety voice was the result of a childhood accident, when he fell while carrying a stick in his mouth, resulting in permanent vocal-chord injuries. A star football player at Santa Clara University, Andy decided to break into movies in 1926; he was almost immediately cast in Universal's two-reel series The Collegians. When talkies came, Devine was convinced that his voice was unsuitable for the microphone. He reportedly became so despondent at one point that he attempted to commit suicide by asphyxiation, only to discover that his landlady had turned off the gas! Devine needn't have worried; his voice became his greatest asset, and from 1930 until his retirement, he was very much in demand for bucolic comedy roles. In 1937 he became a regular on Jack Benny's radio program, his howl of "Hiya, Buck!" becoming a national catchphrase. During the late 1940s and early 1950s, he was a popular comedy sidekick in the western films of Roy Rogers. Later film assignments included his atypical performance as a corrupt Kansas City cop in Jack Webb's Pete Kelly's Blues (1955). Most baby boomers retain fond memories of Devine's TV appearances as Jingles Jones on the long-running western series Wild Bill Hickock, and as host of the Saturday morning kid's program Andy's Gang. In his later years, Devine cut down his performing activities, preferring to stay on his Van Nuys (California) ranch with his wife and children. Made a very wealthy man thanks to real estate investments, Andy Devine abandoned moviemaking in 1970, resurfacing only to provide voices for a brace of Disney cartoon features; he remained active in civic and charitable affairs, at one juncture serving as honorary mayor of Van Nuys.

Trivia: At age three Agnes Moorehead first appeared onstage, and at 11 she made her professional debut in the ballet and chorus of the St. Louis Opera. As a teenager she regularly sang on local radio. She earned a Ph.D. in literature and studied theater at the American Academy of Dramatic Arts. She began playing small roles on Broadway in 1928; shortly thereafter she shifted her focus to radio acting, becoming a regular on the radio shows March of Time, Cavalcade of America, and a soap opera series. She toured in vaudeville from 1933-36 with Phil Baker. In 1940 she joined Orson Welles's Mercury Theater Company, giving a great boost to her career. Moorehead debuted onscreen as Kane's mother in Welles' film Citizen Kane (1941). Her second film was Welles' The Magnificent Ambersons (1942), for which she received a Best Supporting Actress Oscar nomination; ultimately she was nominated for an Oscars five times, never winning. In films, she tended to play authoritarian, neurotic, puritanical, or soured women, but also played a wide range of other roles, and was last onscreen in 1972. In the '50s she toured the U.S. with a stellar cast giving dramatic readings of Shaw's Don Juan in Hell. In 1954 she began touring in The Fabulous Redhead, a one-woman show she eventually took to over 200 cities across the world. She was also active on TV; later audiences remember her best as the witch Endora, Elizabeth Montgomery's mother, in the '60s TV sitcom Bewitched. Moorehead's last professional engagement was in the Broadway musical Gigi. She died of lung cancer in 1974. She was married to actors John Griffith Lee (1930-52) and Robert Gist (1953-58).

Trivia: One of the most prolific actors in television history -- with starring roles in 11 different television series under his belt -- Harry Morgan is most closely identified with his portrayal of Colonel Sherman Potter on M*A*S*H (1975-83). But his credits go back to the 1930s, embracing theater and film as well as the small screen. Born Harry Bratsberg in Detroit, Michigan, in 1915, he made his Broadway debut with the Group Theatre in 1937 as Pepper White in the original production of Golden Boy, alongside Luther Adler, Phoebe Brand, Howard Da Silva, Lee J. Cobb, Morris Carnovsky, Frances Farmer, Elia Kazan, John Garfield, Martin Ritt, and Roman Bohnen. His subsequence stage appearances between 1939 and 1941 comprised a string of failures -- most notably Clifford Odets' Night Music, directed by Harold Clurman; and Robert Ardrey's Thunder Rock, directed by Elia Kazan -- before he turned to film work. Changing his name to Henry Morgan, he appeared in small roles in The Shores of Tripoli, The Loves of Edgar Allen Poe, and Orchestra Wives, all from 1942. Over the next two years, he essayed supporting roles in everything from war movies to Westerns, where he showed an ability to dominate the screen with his voice and his eyes. Speaking softly, Morgan could quietly command a scene, even working alongside Henry Fonda in the most important of those early pictures, The Ox-Bow Incident (1943). Over the years following World War II, Morgan played ever-larger roles marked by their deceptive intensity. And even when he couldn't use his voice in a role, such as that of the mute and sinister Bill Womack in The Big Clock (1948), he was still able to make his presence felt in every one of his scenes with his eyes and his body movements. He was in a lot of important pictures during this period, including major studio productions such as All My Sons (1948), Down to the Sea in Ships (1949), and Madame Bovary (1949). He also appeared in independent films, most notably The Well (1951) and High Noon (1952). One of the more important of those roles was his portrayal of a professional killer in Appointment With Danger (1951), in which he worked alongside fellow actor Jack Webb for the first time. Morgan also passed through the stock company of director Anthony Mann, working in a brace of notable outdoor pictures across the 1950s. It was during the mid-1950s, as he began making regular appearances on television, that he was obliged to change his professional name to Harry Morgan (and, sometimes, Henry "Harry" Morgan), owing to confusion with another performer named Henry Morgan, who had already established himself on the small screen and done some movie acting as well. And it was at this time that Morgan, now billed as Harry Morgan, got his first successful television series, December Bride, which ran for five seasons and yielded a spin-off, Pete and Gladys. Morgan continued to appear in movies, increasingly in wry, comedic roles, most notably Support Your Local Sheriff (1969), but it was the small screen where his activity was concentrated throughout the 1960s.In 1966, Jack Webb, who had become an actor, director, and producer over the previous 15 years, decided to revive the series Dragnet and brought Morgan aboard to play the partner of Webb's Sgt. Joe Friday. As Officer Bill Gannon, Morgan provided a wonderful foil for the deadpan, no-nonsense Friday, emphasizing the natural flair for comic eccentricity that Morgan had shown across the previous 25 years. The series ran for four seasons, and Morgan reprised the role in the 1987 Dragnet feature film. He remained a busy actor going into the 1970s, when true stardom beckoned unexpectedly. In 1974, word got out that McLean Stevenson was planning on leaving the successful series M*A*S*H, and the producers were in the market for a replacement in the role of the military hospital's commanding officer. Morgan did a one-shot appearance as a comically deranged commanding general and earned the spot as Stevenson's replacement. Morgan worked periodically in the two decades following the series' cancellation in 1983, before retiring after 1999. He died in 2011 at age 96.

Trivia: At the tender age of eight, Thelma Ritter was regaling the students and faculty of Brooklyn's Public School 77 with her recitals of such monologues as "Mr. Brown Gets His Haircut" and "The Story of Cremona". After appearing in high school plays and stock companies, Ritter was trained at the American Academy of Dramatic Arts. Throughout the Depression years, she and her actor husband Joe Moran did everything short of robbing banks to support themselves; when vaudeville and stage assignments dried up, they entered slogan and jingle contests. Moran forsook performing to become an actor's agent in the mid-1930s, while Ritter also briefly gave up acting to raise a family. She started working professionally again in 1940 as a radio performer. In 1946, director George Seaton, an old friend of Ritter, offered her a bit role in the upcoming New York-lensed Miracle on 34th Street. Ritter's single scene as a weary Yuletide shopper went over so well that 20th Century-Fox head Darryl F. Zanuck insisted that the actress' role be expanded. After Ritter garnered good notices for her unbilled Miracle role, Joseph L. Mankiewicz wrote a part specifically for her in his 1948 film A Letter to Three Wives (1949). She was afforded screen billing for the first time in 1949's City Across the River. During the first few years of her 20th Century-Fox contract, Ritter was Oscar-nominated for her performance as Bette Davis' acerbic maid in All About Eve, and for her portrayal of upwardly mobile John Lund's just-folks mother in The Mating Season (1951). In all, the actress would receive five nominations -- the other three were for With a Song in My Heart (1952), Pickup on South Street (1953) and Pillow Talk (1959) -- though she never won the gold statuette. Ritter finally received star billing in the comedy/drama The Model and the Marriage Broker (1952), in which she assuages her own loneliness by finding suitable mates for others. After a showcase part as James Stewart's nurse in Hitchcock's Rear Window (1954), Ritter made do with standard film supporting parts and starring roles on TV. In 1957, Ritter appeared as waterfront barfly Marthy in the Broadway musical New Girl in Town, a bowdlerization of Eugene O'Neill's Anna Christie. Ritter interrupted her still-thriving screen career in 1965 for another Broadway appearance in James Kirkwood's UTBU. Shortly after a 1968 guest appearance on TV's The Jerry Lewis Show, Ritter suffered a heart attack which would ultimately prove fatal; the actress' last screen appearance, like her first, was a cameo role in a George Seaton-directed comedy, What's So Bad About Feeling Good? (1968). Ritter's daughter, Monica Moran, also pursued an acting career from the 1940s through the 1970s.

Trivia: One of the few non-Jewish performers to cut his teeth on the tourist resort circuit, Mickey Shaughnessy went on to appear in a WWII army revue, then spent the postwar years performing a nightclub comedy act. His secondary role in 1952's The Marrying Kind led to a long screen career, wherein the burly Shaughnessy was frequently cast as big, dumb lugs with golden hearts. While contracted with MGM, Shaughnessy appeared in Don't Go Near the Water (1955) as a potty-mouthed sailor (whose cuss words were amusingly bleeped out on the soundtrack), in Designing Women (1957) as a punch-drunk boxer, and in The Adventures of Huckleberry Finn (1960) as the Duke; he also essayed a rare unsympathetic role in 1958's The Sheepman. As Jerry Lewis' Navy buddy-turned-wrestler in Don't Give up the Ship (1959), Shaughnessy effortlessly stole the film from Lewis, which may explain why the two were never reteamed. After closing out his film career in the early '60s, Mickey Shaughnessy revived his nightclub act, priding himself on always working "clean" even into the 1980s.

Trivia: Tousle-haired juvenile actor Russ Tamblyn began taking up dancing and acrobatics at the age of six. Needing very little prodding from his parents, the eager Tamblyn embarked on his professional career in the late '40s, performing in radio and Los Angeles musical revues. His first "straight" acting assignment was opposite Lloyd Bridges in the 1947 play Stone Jungle. He entered films in 1948, then was given an "introducing" screen credit for his first starring role in The Kid From Cleveland (1949). Signed by MGM, the young actor changed his billing from Rusty to Russ when cast as an army trainee in 1953's Take the High Ground. Beginning with Seven Brides for Seven Brothers, Tamblyn became a popular musical star, playing the title role in Tom Thumb (1958) and co-starring as gang leader Riff in the Oscar-winning West Side Story (1961). He was nominated for an Academy Award for his performance as the teenaged swain of Allison McKenzie (Diane Varsi) in 1958's Peyton Place. By the late '60s, Tamblyn's career had waned, and he was accepting roles in such cheapjack exploitation flicks as Satan's Sadists (1970) and Dracula vs. Frankenstein (1971). Russ Tamblyn stuck it out long enough to make a healthy comeback in the late '80s, notably in the role of psychiatrist Lawrence Jacoby on the cult-TV favorite Twin Peaks (1990).

Trivia: A perpetually haggard character actor with hound-dog eyes and the rare ability to alternate between menace and earnest at a moment's notice, Harry Dean Stanton has proven one of the most enduring and endearing actors of his generation. From his early days riding the range in Gunsmoke and Rawhide to a poignant turn in David Lynch's uncharacteristically sentimental drama The Straight Story, Stanton can always be counted on to turn in a memorable performance no matter how small the role. A West Irvine, KY, native who served in World War II before returning stateside to attend the University of Kentucky, it was while appearing in a college production of Pygmalion that Stanton first began to realize his love for acting. Dropping out of school three years later to move to California and train at the Pasadena Playhouse, Stanton found himself in good company while training alongside such future greats as Gene Hackman and Robert Duvall. A stateside tour with the American Male Chorus and a stint in New York children's theater found Stanton continuing to hone his skills, and after packing his bags for Hollywood shortly thereafter, numerous television roles were quick to follow. Billed Dean Stanton in his early years and often carrying the weight of the screen baddie, Stanton gunned down the best of them in numerous early Westerns before a soulful turn in Cool Hand Luke showed that he was capable of much more. Though a role in The Godfather Part II offered momentary cinematic redemption, it wasn't long before Stanton was back to his old antics in the 1976 Marlon Brando Western The Missouri Breaks. After once again utilizing his musical talents as a country & western singer in The Rose (1979) and meeting a gruesome demise in the sci-fi classic Alien, roles in such popular early '80s efforts as Private Benjamin, Escape From New York, and Christine began to gain Stanton growing recognition among mainstream film audiences; and then a trio of career-defining roles in the mid-'80s proved the windfall that would propel the rest of Stanton's career. Cast as a veteran repo man opposite Emilio Estevez in director Alex Cox's cult classic Repo Man (1984), Stanton's hilarious, invigorated performance perfectly gelled with the offbeat sensibilities of the truly original tale involving punk-rockers, aliens, and a mysteriously omnipresent plate o' shrimp. After sending his sons off into the mountains to fight communists in the jingoistic actioner Red Dawn (also 1984) Stanton essayed what was perhaps his most dramatically demanding role to date in director Wim Wenders' Paris, Texas. Cast as a broken man whose brother attempts to help him remember why he walked out on his family years before, Stanton's devastating performance provided the emotional core to what was perhaps one of the essential films of the 1980s. A subsequent role as Molly Ringwald's character's perpetually unemployed father in 1986's Pretty in Pink, while perhaps not quite as emotionally draining, offered a tender characterization that would forever hold him a place in the hearts of those raised on 1980s cinema. In 1988 Stanton essayed the role of Paul the Apostle in director Martin Scorsese's controversial religious epic The Last Temptation of Christ. By the 1990s Stanton was a widely recognized icon of American cinema, and following memorably quirky roles as an eccentric patriarch in Twister and a desperate private detective in David Lynch's Wild at Heart (both 1990), he settled into memorable roles in such efforts as Against the Wall (1994), Never Talk to Strangers (1995), and the sentimental drama The Mighty (1998). In 1996, Stanton made news when he was pistol whipped by thieves who broke into his home and stole his car (which was eventually returned thanks to a tracking device). Having previously teamed with director Lynch earlier in the decade, fans were delighted at Stanton's poignant performance in 1999's The Straight Story. Still going strong into the new millennium, Stanton could be spotted in such efforts as The Pledge (2001; starring longtime friend and former roommate Jack Nicholson), Sonny (2002), and The Big Bounce (2004). In addition to his acting career, Stanton can often be spotted around Hollywood performing with his band, The Harry Dean Stanton Band.

Trivia: Following a wartime tour with the Navy, New Jersey-born Lee Van Cleef supported himself as an accountant. Like fellow accountant-turned-actor Jack Elam, Van Cleef was advised by his clients that he had just the right satanic facial features to thrive as a movie villain. With such rare exceptions as The Beast From 20,000 Fathoms (1954), Van Cleef spent most of his early screen career on the wrong side of the law, menacing everyone from Gary Cooper (High Noon) to the Bowery Boys (Private Eyes) with his cold, shark-eyed stare. Van Cleef left Hollywood in the '60s to appear in European spaghetti Westerns, initially as a secondary actor; he was, for example, the "Bad" in Clint Eastwood's The Good, the Bad and the Ugly (1966). Within a few years, Van Cleef was starring in blood-spattered action films with such titles as Day of Anger (1967), El Condor (1970), and Mean Frank and Crazy Tony (1975). The actor was, for many years, one of the international film scene's biggest box-office draws. Returning to Hollywood in the late '70s, He starred in a very short-lived martial arts TV series The Master (1984), the pilot episodes of which were pieced together into an ersatz feature film for video rental. Van Cleef died of a heart attack in 1989.

Trivia: A former teacher, American actor Clinton Sundberg realized from the moment he set foot on stage that he'd never be a romantic lead, but settled -- profitably, as it turned out -- for character work. Sundberg's prim demeanor and light, throaty voice enabled him to carve a significant Hollywood niche as desk clerks and minor bureaucrats, though he was capable of coarse villainy, as proven in Undercover Maisie (1949). The actor worked most often at MGM throughout his career, from 1946's Undercurrent to 1963's How the West Was Won. Probably the closest he got to a full lead was as corpulent private eye J. Scott Smart's "Man Friday" in the enjoyable Universal low-budget mystery The Fat Man (1951). Clinton Sundberg contributed numerous voice-overs to commercials of the '70s, and was seen to good advantage in one advertisement as an unflappable tailor outfitting a large, talking Seven-Up bottle!

Trivia: American actor Claude Johnson has played supporting roles on stage, screen and especially television during the '60s and '70s.

Trivia: Karl Swenson was one of the busiest performers in the so-called golden days of network radio. Swenson played the leading role in the seriocomic daily serial Lorenzo Jones, and was also heard on Our Gal Sunday as Lord Henry, the heroine's "wealthy and titled Englishman" husband. He carried over his daytime-drama activities into television, playing Walter Manning in the 1954 video version of radio's Portia Faces Life. From 1958 onward, Swenson was seen in many small roles in a number of big films: Judgment of Nuremberg (1961), How the West Was Won (1962), and The Birds (1963). One of his more sizeable movie assignments was the voice of Merlin in the 1963 Disney animated feature The Sword in the Stone. One of his last roles was the recurring part of Mr. Hansen on TV's Little House on the Prairie. Karl Swenson was married to actress Joan Tompkins.

Trivia: WWI-veteran Jack Pennick was working as a horse wrangler when, in 1926, he was hired as a technical advisor for the big-budget war drama What Price Glory? Turning to acting in 1927, Pennick made his screen bow in Bronco Twister. His hulking frame, craggy face, and snaggle-toothed bridgework made him instantly recognizable to film buffs for the next 35 years. Beginning with 1928's Four Sons and ending with 1962's How the West Was Won, Pennick was prominently featured in nearly three dozen John Ford films. He also served as Ford's assistant director on How Green Was My Valley (1941) and Fort Apache (1947), and as technical advisor on The Alamo (1960), directed by another longtime professional associate and boon companion, John Wayne. Though pushing 50, Jack Pennick interrupted his film career to serve in WWII, earning a Silver Star after being wounded in combat.

Trivia: Chuck Roberson was a rancher before serving in World War II. Upon his discharge, he sought out film work as a stunt man. While under contract to Republic Pictures, Roberson doubled for John Wayne in Wake of the Red Witch (1948). Thereafter, he worked in virtually all of Wayne's films as stunt double, action coordinator, second-unit director and bit actor. His best speaking part was Sheriff Lordin in the Duke's McClintock (1963). Chuck Roberson's career served as the inspiration for the Lee Majors TV series The Fall Guy (1981-86).

Trivia: Trained at Northwestern University's drama department, onetime salesman Claude Akins was a Broadway actor when he was selected by a Columbia talent scout for a small role in the Oscar-winning From Here to Eternity (1953). With a craggy face and blunt voice that evoked memories of Lon Chaney Jr., Akins was a "natural" for villainous or roughneck roles, but was versatile enough to play parts requiring compassion and humor. A television actor since the "live" days, Akins achieved stardom relatively late in life via such genial adventure series as Movin' On (1974), B.J. and the Bear (1979), The Misadventures of Sheriff Lobo (1979) and Legmen (1984). In his last decade, Claude Akins was a busy-and most genial-commercial spokesperson.

Trivia: American actor Charlie Briggs played in a few films during the '60s and '70s. He also appeared in a number of television series, primarily westerns.

Trivia: In films from 1938's Tenth Avenue Kid, American actor Paul Bryar remained a durable character player for over thirty years, usually in police uniform. Among his screen credits were Follow Me Quietly (1949), Dangerous When Wet (1952), Inside Detroit (1955) and The Killer is Loose (1956). He also showed up in one serial, Republic's Spy Smasher (1942), and was a regular in Hollywood's B factories of the 1940s (he made thirteen pictures at PRC Studios alone, three of them "Michael Shayne" mysteries). Television took advantage of Bryar's talents in a number of guest spots, including the unsold pilot The Family Kovack (1974). He had somewhat better job security as a regular on the 1965 dramatic series The Long Hot Summer, playing Sheriff Harve Anders, though he and everyone else in the cast (from Edmond O'Brien to Wayne Rogers) were back haunting the casting offices when the series was cancelled after 26 episodes. One of Paul Bryar's last screen appearances was as one of the card players (with future star Sam Elliott) in the opening scene of Butch Cassidy and the Sundance Kid (1969).

Trivia: Diminutive Irish-American character actor Walter Burke kicked off his film career in 1948. Burke's weaselly, cigarette-dangling-from-lips characterization of political flunky Sugar Boy in the Oscar-winning All the King's Men (1949) set the tone for most of his later roles. Though often afforded meaty roles on television -- he was one of several actors who subbed for William Talman during the 1960-1961 season of Perry Mason -- Burke had no objection to accepting tiny but memorable bits, such as the cockney who warns Eliza Doolittle, "There's a bloke be'ind that pillar, takin' down every word that you're sayin'!" in the opening scene of My Fair Lady (1964). In another unbilled assignment, Burke convincingly voice-doubled for narrator Walter Winchell in a handful of early-'60s episodes of The Untouchables. Closing out his film career in the early '70s, Walter Burke moved to Pennsylvania, where he became an acting teacher.

Trivia: It was while attending Colorado College that American actor/singer Ken Curtis discovered his talent for writing music. After an artistic apprenticeship on the staff of the NBC radio network's music department in the early '30s, Curtis was hired as male vocalist for the Tommy Dorsey Orchestra, then went on to work for bandleader Shep Fields. Preferring country-western to swing, Curtis joined the Sons of the Pioneers singing group in the 1940s, and in this capacity appeared in several western films. Columbia Pictures felt that Curtis had star potential, and gave the singer his own series of westerns in 1945, but Ken seemed better suited to supporting roles. He worked a lot for director John Ford in the '40s and '50s, as both singer and actor, before earning starring status again on the 1961 TV adventure series Ripcord. That was the last we saw of the handsome, clean-shaven Ken Curtis; the Ken Curtis that most western fans are familiar with is the scraggly rustic deputy Festus Haggen on the long-running TV Western Gunsmoke. Ken was hired to replace Dennis Weaver (who'd played deputy Chester Good) in 1964, and remained with Gunsmoke until the series ended its 20-year run in 1975. After that, Ken Curtis retired to his spread in Fresno, California, stepping back into the spotlight on occasion for guest appearances at western-movie conventions.

Trivia: Stockbroker-turned-big screen hero, Kem Dibbs is best-remembered for playing Buck Rogers in the 1950s serial. He also appeared in a few major feature films, including High Society (1955), The Ten Commandments (1956), and How the West Was Won (1962). Occasionally, Dibbs appeared on television in such dramatic series as Playhouse 90 and Hallmark Hall of Fame.

Trivia: American actor Tom Greenway appeared in numerous films between the late '40s and early '60s. He got his start on Broadway where he appeared in a number of productions before serving in the U.S. Air Force during WW II. While flying a mission he was shot down, and he spent over a year in Italian and German POW camps. Following his release, Greenway launched his film career.

Trivia: William (Bill) Henry was eight years old when he appeared in his first film, Lord Jim. During his teen years, Henry dabbled with backstage duties as a technician, but continued taking roles in student productions while attending the University of Hawaii. As an adult actor, Henry was prominently billed in such films as Geronimo (1939), Blossoms in the Dust (1941) and Johnny Come Lately (1943); he also briefly starred in Columbia's "Glove Slingers" 2-reel series. In the last stages of his movie career, William Henry was something of a regular in the films of John Ford appearing in such Ford productions as Mister Roberts (1955), The Last Hurrah (1958), The Man Who Shot Liberty Valance (1962) and Cheyenne Autumn (1964).

Trivia: When diehard American movie fans speak of Jack Lambert, they are generally not referring to the British character actor of that name, but of the New York-born supporting player who was most often seen in gangster roles. Following Broadway experience, Lambert came to Hollywood in 1943, to menace Kay Kyser in the MGM musical comedy Swing Fever. Usually a secondary bad guy, Lambert was the main menace -- a scarfaced thug with a hook for a hand -- in Dick Tracy's Dilemma (1947). A less malevolent Jack Lambert was seen on a weekly basis as Joshua on the 1959-60 TV adventure series Riverboat.

Trivia: Open-faced, bulb-nosed character actor John Larch entered films in 1954, appearing mostly in westerns and outdoor adventures. During the "crime exposé" film cycle, Larch alternated between playing honest cops and dirty-palmed politicos. An old crony of actor/director Clint Eastwood, Larch appeared in such Eastwood efforts as Dirty Harry (1971) and Play Misty For Me (1972). His TV work has included weekly roles on two briefies of the 1960s, Arrest and Trial (1963) and Convoy (1965). Twilight Zone fans will instantly recognize John Larch as the walking-on-eggs father of malevolent telekinetic youngster Anthony Fremont (Billy Mumy) in the 1961 Zone chiller "It's a Good Life."

Trivia: A pleasant, young leading man of the early '20s, Harold Miller was something unusual in the film business, a native Californian. In films from 1920, the dark-haired, brown-eyed Miller played opposite such relatively minor stars as Edith Roberts and Marie Prevost, but was rather more famous for partnering Alene Ray in a couple of well-received Pathé serials, Way of a Man (1921) and, in the title role, Leatherstocking (1924). Perhaps Miller was a bit too immature for lasting serial stardom and when Pathé opted for the more seasoned Walter Miller to star opposite the indefatigable Ray, Harold Miller's career took a nosedive from which it never recovered. He hung in there, however, and played hundreds of bit parts through the 1950s.

Trivia: Expert horseman Boyd "Red" Morgan entered films as a stunt man in 1937. Morgan was justifiably proud of his specialty: falling from a horse in the most convincingly bone-crushing manner possible. He doubled for several top western stars, including John Wayne and Wayne's protégé James Arness. He could also be seen in speaking roles in such films as The Amazing Transparent Man (1959), The Alamo (1960), True Grit (1968), The Wild Rovers (1969) and Rio Lobo (1970). According to one report, Boyd "Red" Morgan served as the model for the TV-commercial icon Mister Clean.

Trivia: In films from 1937, silver-haired American actor Forbes Murray could be described as a less-costly Claude Rains. Murray lent his middle-aged dignity to such serials as The Spider's Web (1938), Mandrake the Magician (1940), Lone Ranger (1938), Perils of Nyoka (1942), Manhunt of Mystery Island (1945), and Radar Patrol vs. Spy King (1950). He also showed up in quite a few comedies, notably as the bank president who finances the college education of Laurel and Hardy ("Diamonds in the rough," as he describes them) in A Chump at Oxford (1940). Forbes Murray was active at least until 1955.

Trivia: Authoritative, sandy-haired character actor Willis Bouchey abandoned a busy Broadway career in 1951 to try his luck in films. Bouchey's striking resemblance to Dwight D. Eisenhower enabled him to play roles calling for quick decisiveness and unquestioned leadership; he even showed up as the President of the United States in 1952's Red Planet Mars, one year before the "real" Ike ascended to that office. The actor's many judge, executive, military, and town-marshal characterizations could also convey weakness and vacillation, but for the most part there was no question who was in charge when Bouchey was on the scene. A loyal and steadfast member of the John Ford stock company, Willis Bouchey was seen in such Ford productions as The Long Gray Line (1955), The Last Hurrah (1958), Sergeant Rutledge (1960), Two Rode Together (1961), The Man Who Shot Liberty Valance (1962), and Cheyenne Autumn (1962).

Trivia: American actor Cliff Osmond was working in Southern repertory, summer stock and children's theatre when he was plucked from obscurity by director Billy Wilder, who cast Osmond as an oafish gendarme in Irma La Douce (1963). Osmond remained a loyal and stalwart member of Wilder's unofficial stock company. He played wannabe lyricist Barney Milsap in Kiss Me, Stupid (1964), flummoxed insurance detective Purkey in The Fortune Cookie (1966), and political stooge Jacobi in The Front Page (1974). After his "Wilder" days, Osmond was seen in such menacing roles as Pap in the 1981 TV adaptation of The Adventures of Huckleberry Finn. In 1988, Cliff Osmond wrote and produced the independent feature The Penitent.

Trivia: Over his 60-year career, American stunt man Harvey Parry appeared in close to 600 films. He got his start playing a Keystone Kop for Mack Sennett and over the years played stunt doubles for some of Hollywood's brightest stars including James Cagney, for whom he doubled most often, Bogart, Peter Lorre, and once, Shirley Temple. Though not generally known until long after famed silent comedian Harold Lloyd's death, Parry also doubled for Lloyd in the action sequences of Feet First (1930) on the long shots. During the '70s through the early '80s, Parry did stunt and character work (specializing as a stumbling drunk) on several television series including The Fall Guy.

Trivia: Born in Northern Australia, Gil Perkins distinguished himself in his teen years as a champion athlete, trackman and swimmer. Perkins left his homeland at age 18 to go to sea; nearly a decade later he found himself in Hollywood, where he sought out acting roles, the first of which was in The Divine Lady (1928). Though a personable screen presence, he found that his true forte was stunt work. Over a period of thirty years, he doubled for dozens of male stars, from William Boyd ("Hopalong Cassidy") to Red Skelton (whom he closely resembled). While he was willing to tackle the riskiest of stunts, Perkins was far from reckless, always working out in advance the safest and least painful method of pulling off his "gags." He was especially in demand for slapstick comedies, eventually receiving so many pies in the face that the very sight of the pastry made him physically ill. Perkins did more acting than stunting in the latter stages of his career (he can be seen as Jacob of Bethlehem in 1965's The Greatest Story Ever Told), and also kept busy as a stunt coordinator. A most engaging and candid interview with Gil Perkins can be found in Bernard Rosenberg and Harry Silverstein's 1970 book of Hollywood reminiscences, The Real Tinsel.

Trivia: Mexican actor Rodolpho Acosta first became known to North American audiences by way of his appearance in John Ford's The Fugitive (1948). Frequently typecast as a bandit or indigent peasant, Acosta held out for less stereotypical roles once he was established in Hollywood. In 1957, he was top-billed in The Tijuana Story, playing a courageous Mexican journalist who wages a one-man war against a vicious narcotics ring. Depending on the role, Rodolpho Acosta was sometimes billed as Rudy Acosta.

Trivia: He was Walter Reed Smith on his birth certificate, but when he decided to pursue acting, the Washington-born hopeful dropped the "Smith" and retained his first and middle name professionally. Bypassing the obvious medical roles that an actor with his hospital-inspired cognomen might have accepted for publicity purposes, Reed became a light leading man in wartime films like Seven Days Leave (1942). Banking on his vague resemblance to comic-book hero Dick Tracy, Reed starred in the 1951 Republic serials Flying Disc Man from Mars and Government Agents vs. Phantom Legion. He was also seen as mine supervisor Bill Corrigan in Superman vs. the Mole Men (1951), a 58-minute B-film which represented George Reeves' first appearance as the Man of Steel. Walter Reed continued as a journeyman "authority" actor until 1970's Tora! Tora! Tora!

Trivia: A former pro baseball player, Bing Russell eased into acting in the 1950s, appearing mostly in westerns. Russell could be seen in such bonafide classics as The Horse Soldiers (1959) and The Magnificent Seven (1960), and not a few bow-wows like Billy the Kid vs. Dracula (1966). From 1961 through 1973, Russell played the semiregular role of Deputy Clem on the marathon TV western series Bonanza. When time permitted, he also dabbled in screenwriting. The father of film star Kurt Russell, Bing Russell has acted with his son on several occasions, most memorably in the role of Vernon Presley in the 1979 TV-movie hit Elvis.

Trivia: Beefy, puffy-faced Canadian actor Joseph Sawyer spent his first years in films (the early- to mid-'30s) acting under his family name of Sauer. Before he developed his comic skills, Sawyer was often seen in roles calling for casual menace, such as the grinning gunman who introduces "Duke Mantee, the well-known killer" in The Petrified Forest (1936). While under contract to Hal Roach studios in the 1940s, Sawyer starred in several of Roach's "streamliners," films that ran approximately 45 minutes each. He co-starred with William Tracy in a series of films about a GI with a photographic memory and his bewildered topkick: Titles included Tanks a Million (1941), Fall In (1942), and Yanks Ahoy (1943) (he later reprised this role in a brace of B-pictures produced by Hal Roach Jr. for Lippert Films in 1951). A second "streamliner" series, concerning the misadventures of a pair of nouveau riche cabdrivers, teamed Sawyer with another Roach contractee, William Bendix. Baby boomers will remember Joe Sawyer for his 164-episode stint as tough but soft-hearted cavalry sergeant Biff O'Hara on the '50s TV series Rin Tin Tin.

Trivia: Actor Dub Taylor, the personification of grizzled old western characters, has been entertaining viewers for over 60 years. Prior to becoming a movie actor, Taylor played the harmonica and xylophone in vaudeville. He used his ability to make his film debut as the zany Ed Carmichael in Capra's You Can't Take it With You (1938). He next appeared in a small role in the musical Carefree(1938) and then began a long stint as a comical B-western sidekick for some of Hollywood's most enduring cowboy heroes. During the '50s he became a part of The Roy Rogers Show on television. About that time, he also began to branch out and appear in different film genres ranging from comedies, No time for Sergeants (1958) to crime dramas, Crime Wave (1954). He has also played on other TV series such as The Andy Griffith Show and Please Don't Eat the Daisies. One of his most memorable feature film roles was as the man who brought down the outlaws in Bonnie and Clyde. From the late sixties through the nineties Taylor returned to westerns.

Trivia: Ken Terrell (who was sometimes billed as Kenneth Terrell) was one of the longer working veterans of Republic Pictures, with a career that lasted from the end of the 1930s into the 1960s. After breaking into the movies at RKO in a pair of comedy features, A Damsel in Distress and Living on Love, Terrell moved to Republic, where he worked in a string of serials in supporting roles, including the renowned Perils of Nyoka (aka Nyoka and the Tigermen), playing the assistant to the Charles Middleton character. The other major serials in which he appeared included Jungle Girl, Drums of Fu Manchu, The Masked Marvel, Secret Service in Darkest Africa, Captain America, and Spy Smasher, sometimes in multiple roles in the course of 12 or 15 chapters. He did occasional outside work, such as an appearance in The Mummy's Hand at Universal, and appeared in B-westerns such as the Jimmy Wakely vehicle Song of the Range; during the 1940s, Terrell's one appearance in a major movie was in a small role in George Cukor's Winged Victory, based on the play by Moss Hart. Terrell didn't get acting roles with decent screen time until the mid-'50s, after leaving Republic, when he was cast in a succession of roles in several low-budget science fiction/horror films. His rough-hewn features and dark eyes allowed him to convey fear, villainy, or concern in equal measures, and to play anything from thugs to army officers, just as his bit roles had him cast as everything from Arab assassins to town drunks. In Jack Pollexfen's The Indestructible Man, he played Joe Marcella, the nervous one of the three hoods being hunted down by a super-strong resurrected murderer Lon Chaney Jr.; in Nathan Juran's The Brain From Planet Arous, he played the army colonel who gets burned to a cinder by alien-possessed John Agar and, in his best and longest part in a feature, in Juran's Attack of the 50 Foot Woman, he plays Jess, the loyal valet to victim Allison Hayes. Terrell had a small role, mostly involving stunt work, in Stanley Kubrick's Spartacus, and made his last screen appearance in the Vincent Price vehicle The Master of the World. He died of arteriosclerosis in 1966.

Trivia: As the son of legendary Hollywood director William Wellman, Sr. -- the man responsible for the first Best Picture winner, Wings (1927) -- and actress Dorothy Coonan, actor William Wellman Jr. followed in the footsteps of his show-business family and maintained a nearly constant presence in films and television over the decades. He began his career by focusing largely on action-oriented genre fare, such as the Western Darby's Rangers (1958) and the war drama Lafayette Escadrille (1958, both directed by his father), the Lewis Milestone-helmed combat film Pork Chop Hill (1959), and the premier Billy Jack installment, Born Losers (1967). The Trial of Billy Jack marked his reunion with director-star Tom Laughlin. In the late '70s and early '80s, Wellman became involved with Mark IV Pictures, an evangelical Christian production outfit best known for its Thief in the Night film series (on the book of Revelation); he acted in the 1981 series installment Image of the Beast, and appeared in and scripted the 1983 installment Prodigal Planet. Wellman also became active in television; his small-screen assignments include work in the miniseries The Blue and the Gray (1982) and James A. Michener's Space (1985) as well as the 1994 telemovie Lies of the Heart: The Story of Laurie Kellogg.

Trivia: There was always something slightly sinister about American actor Carleton G. Young that prevented him from traditional leading man roles. Young always seemed to be hiding something, to be looking over his shoulder, or to be poised to head for the border; as such, he was perfectly cast in such roles as the youthful dope peddler in the 1936 camp classic Reefer Madness. Even when playing a relatively sympathetic role, Young appeared capable of going off the deep end at any minute, vide his performance in the 1937 serial Dick Tracy as Tracy's brainwashed younger brother. During the 1940s and 1950s, Young was quite active in radio, where he was allowed to play such heroic leading roles as Ellery Queen and the Count of Monte Cristo without his furtive facial expressions working against him. As he matured into a greying character actor, Young became a special favorite of director John Ford, appearing in several of Ford's films of the 1950s and 1960s. In 1962's The Man Who Shot Liberty Valance, it is Young, in the small role of a reporter, who utters the unforgettable valediction "This is the west, sir. When the legend becomes fact...print the legend." Carleton G. Young was the father of actor Tony Young, who starred in the short-lived 1961 TV Western Gunslinger.