Trivia: In the first ten years of his life, Raymond Burr moved from town to town with his mother, a single parent who supported her little family by playing the organ in movie houses and churches. An unusually large child, he was able to land odd jobs that would normally go to adults. He worked as a ranch hand, a traveling tinted-photograph salesman, a Forest service fire guard, and a property agent in China, where his mother had briefly resettled. At 19, he made the acquaintance of film director Anatole Litvak, who arranged for Burr to get a job at a Toronto summer-stock theater. This led to a stint with a touring English rep company; one of his co-workers, Annette Sutherland, became his first wife. After a brief stint as a nightclub singer in Paris, Burr studied at the Pasadena Playhouse and took adult education courses at Stanford, Columbia, and the University of Chunking. His first New York theatrical break was in the 1943 play Duke in Darkness. That same year, his wife Sutherland was killed in the same plane crash that took the life of actor Leslie Howard. Distraught after the death of his wife, Burr joined the Navy, served two years, then returned to America in the company of his four-year-old son, Michael Evan Burr (Michael would die of leukemia in 1953). Told by Hollywood agents that he was overweight for movies, the 340-pound Burr spent a torturous six months living on 750 calories per day. Emerging at a trim 210 pounds, he landed his first film role, an unbilled bit as Claudette Colbert's dancing partner in Without Reservations (1946). It was in San Quentin (1946), his next film, that Burr found his true metier, as a brooding villain. He spent the next ten years specializing in heavies, menacing everyone from the Marx Brothers (1949's Love Happy) to Clark Gable (1950's Key to the City) to Montgomery Clift (1951's A Place in the Sun) to Natalie Wood (1954's A Cry in the Night). His most celebrated assignments during this period included the role of melancholy wife murderer Lars Thorwald in Hitchcock's Rear Window (1954) and reporter Steve Martin in the English-language scenes of the Japanese monster rally Godzilla (1956), a characterization he'd repeat three decades later in Godzilla 1985. While he worked steadily on radio and television, Burr seemed a poor prospect for series stardom, especially after being rejected for the role of Matt Dillon on Gunsmoke on the grounds that his voice was too big. In 1957, he was tested for the role of district attorney Hamilton Burger in the upcoming TV series Perry Mason. Tired of playing unpleasant secondary roles, Burr agreed to read for Burger only if he was also given a shot at the leading character. Producer Gail Patrick Jackson, who'd been courting such big names as William Holden, Fred MacMurray, and Efrem Zimbalist Jr., agreed to humor Burr by permitting him to test for both Burger and Perry Mason. Upon viewing Burr's test for the latter role, Perry Mason creator Erle Stanley Gardner jumped up, pointed at the screen, and cried "That's him!" Burr was cast as Mason on the spot, remaining with the role until the series' cancellation in 1966 and winning three Emmies along the way. Though famous for his intense powers of concentration during working hours -- he didn't simply play Perry Mason, he immersed himself in the role -- Burr nonetheless found time to indulge in endless on-set practical jokes, many of these directed at his co-star and beloved friend, actress Barbara Hale. Less than a year after Mason's demise, Burr was back at work as the wheelchair-bound protagonist of the weekly detective series Ironside, which ran from 1967 to 1975. His later projects included the short-lived TVer Kingston Confidential (1976), a sparkling cameo in Airplane 2: The Sequel (1982), and 26 two-hour Perry Mason specials, lensed between 1986 and 1993. Burr was one of the most liked and highly respected men in Hollywood. Fiercely devoted to his friends and co-workers, Burr would threaten to walk off the set whenever one of his associates was treated in a less than chivalrous manner by the producers or the network. Burr also devoted innumerable hours to charitable and humanitarian works, including his personally financed one-man tours of Korean and Vietnamese army bases, his support of two dozen foster children, and his generous financial contributions to the population of the 4,000-acre Fiji island of Naitauba, which he partly owned. Despite his unbounded generosity and genuine love of people, Burr was an intensely private person. After his divorce from his second wife and the death from cancer of his third, Burr remained a bachelor from 1955 until his death. Stricken by kidney cancer late in 1992, he insisted upon maintaining his usual hectic pace, filming one last Mason TV movie and taking an extended trip to Europe. In his last weeks, Burr refused to see anyone but his closest friends, throwing "farewell" parties to keep their spirits up. Forty-eight hours after telling his longtime friend and business partner Robert Benevides, "If I lie down, I'll die," 76-year-old Raymond Burr did just that -- dying as he'd lived, on his own terms.

Trivia: Lead actress, onscreen from the '50s.

Trivia: Brunette Canadian leading lady Ann Rutherford had the sort of button-cute baby face that allowed her to play ingénues into her thirties. The daughter of an opera tenor and a stage actress, Rutherford was performing on-stage from childhood. She was still a teenager when she made her first film appearances as leading lady to such Western heroes as John Wayne and Gene Autry. At MGM from 1937, Ms. Rutherford gained minor stardom as Polly Benedict in the studio's Andy Hardy series. She was allowed to display her perky comic gifts in a trio of 1940s mystery-comedies co-starring Red Skelton (Whistling in the Dark, Whistling in Dixie, Whistling in Brooklyn), and was quite appealing as Careen O'Hara in Gone With the Wind (1939). She closed out her film career in 1950 to devote more time to her private life; for many years, she was the wife of 20th Century Fox executive William Dozier. Ann Rutherford returned to the screen in 1972 to join several fellow MGM alumni in They Only Kill Their Masters, thereafter confining most of her professional activity to her annual appearances as Suzanne Pleshette's mother on TV's The Bob Newhart Show (1972-1978).

Trivia: Barton MacLane may have been born on Christmas Day, but there was precious little chance that he'd ever be cast as Santa Claus. A star athlete at Wesleyan University, MacLane won his first movie role in the 1924 silent Quarterback as the result of his football skills. This single incident sparked his interest in performing, which he pursued on a serious basis at the American Academy of Dramatic Arts. He performed in stock, on Broadway, and in bit parts in films lensed at Paramount's Astoria studios (notably the Marx Brothers' The Cocoanuts). In 1932, MacLane wrote a slice-of-life play titled Rendezvous, selling it to influential Broadway producer Arthur Hopkins on the proviso, that he, MacLane, be given the lead. The play was a success, leading to a lucrative film contract from Warner Bros. Most effectively cast as a swaggering villain ("who never spoke when shouting would do," as historian William K. Everson observed), MacLane played good-guy leads in several Warner "B"s: he played the conclusion-jumping lieutenant Steve McBride in the studio's Torchy Blaine series. Free-lancing in the 1940s, MacLane made an unfortunate return to writing in 1941, penning the screenplay for the PRC quickie Man of Courage; it is reported that audiences erupted in shrieks of laughter when MacLane, reciting his own lines, recalled his childhood days on the farm by declaring "Boy! Did I love ta plow!" He was better served in a brace of John Huston-directed films, beating up Humphrey Bogart in The Maltese Falcon (1941) and being beaten up by Bogart in The Treasure of the Sierra Madre. MacLane's TV-series work included a starring stint on The Outlaws (1960-62) and the recurring role of General Peterson on I Dream of Jeannie (1965-69). Having come into the world on a holiday, Barton MacLane died on New Years' Day, 1969; he was survived by his wife, actress Charlotte Wynters.

Trivia: A onetime opera singer, wizened, glowering American character actor Richard Hale spent most of his screen time playing small-town sourpusses. Many of his movie appearances were small and unbilled: he enjoyed larger assignments as outlaw patriarch Basserman in Preston Sturges' The Beautiful Blonde of Bashful Bend (1949), the Soothsayer in Julius Caesar (1953), and the father of the retarded Boo Radley (Robert Duvall) in To Kill a Mockingbird (1962). He also showed up with regularity on television, often cast as a taciturn farmer or hard-hearted banker on the many western series of the 1950s and 1960s. One of Hale's showier parts was in the Oscar-winning All The King's Men, as the father of the girl killed in an auto accident caused by the drunken son (John Derek) of demagogic Willie Stark (Broderick Crawford), his character name: Richard Hale.

Trivia: A stocky character actor, Dennis first appeared onscreen in 1953; he often plays no-nonsense heavies.

Trivia: Actor, director, producer, and writer Terry Becker has been a familiar figure on television since the 1950s, on series such as The Twilight Zone, Bonanza, Gunsmoke, and Voyage to the Bottom of the Sea. Becker was born in New York City in 1930, and he discovered as early as elementary school that acting in plays helped keep him out of trouble. He later attended Morris High School in the Bronx (where his classmates included future actor Ross Martin, a close friend); it was there that he tried directing and discovered that he enjoyed it as well. Becker turned to drama after he graduated, studying at the American Theater Wing. His teachers included Stella Adler and Lee Strasberg, and he also made the acquaintance of playwright Paddy Chayefsky, who was to become a giant in the world of television in the 1950s. As an aspiring young actor in post-World War II New York, he crossed paths with such up-and-coming players as Marlon Brando, Ben Gazzara, and Tony Franciosa. Becker made his television debut on the same installment of Philco Playhouse that saw the debut of Ernest Borgnine. Becker went on to appear in parts of varying sizes, from bits to starring roles, in dozens of early live-television dramas. He never made the jump to series work, though, preferring instead his one-off performances on the small screen, interspersed with occasional film work and stage productions. Becker wanted to direct for television as well as the stage, but in those years he was getting far more offers as an actor. One of the few directing jobs that he did procure backfired: He went out to Hollywood to direct a pilot that was never made and was forced to turn back to acting in order to survive in the movie capital. Becker often played highly motivated characters, such as earnest villains, dedicated, selfless heroes, or victims; in the Twilight Zone episode "I Am the Night -- Color Me Black," he portrayed a man due to be hanged in a matter of hours for what even the sheriff conceded was a justifiable homicide. He also appeared in two feature films, Teacher's Pet (as Mr. Appino) and Compulsion (as Benson), during the late '50s. In 1965, Becker joined the cast of Voyage to the Bottom of the Sea as Chief Francis Sharkey, the top noncommissioned officer aboard the submarine Seaview. Producer Irwin Allen gave Becker very little to do (and very little money) during his first season on the show, preferring that the actor find his own niche or leave the cast. Ironically, once Becker had established a rapport with the series' star, Richard Basehart, and turned his role into something more substantial, Allen tried to renege on his promise of more money. Becker vowed to leave the show, insisting that a death scene be written for his character, but Allen was unable to find a replacement actor and finally resigned Becker for more money. Becker brought an authentic working-class New York element to the role and his work with Basehart over the next two seasons was one of the highlights of the program; the two always made sure they had at least one good, interesting dialogue scene together on each show. Although he never directed any episodes of Voyage, Becker moved out of acting and into producing, writing, and directing following the series' cancellation in 1968. In collaboration with Gene Reynolds and James L. Brooks, Becker developed and later directed several episodes of the series Room 222, which won him an Emmy Award for directing during the 1969-1970 season; he subsequently helmed episodes of Mission: Impossible, M*A*S*H (which was co-produced by Reynolds) and The Courtship of Eddie's Father. Becker also went into partnership with Carroll O'Connor, an old friend from his days acting in New York, to form a production company. He wrote and directed the horror movie The Thirsty Dead (1975), but spent most of his time in the '70s shepherding various series into production, including Bronk (with Jack Palance). Becker continues to write, direct, and produce, and he makes occasional appearances at conventions devoted to '60s television and science fiction.

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: Arriving in America from his native Australia at the turn of the century, Frank S. Hagney eked out a living in vaudeville. He entered films during the silent era as a stunt man, gradually working his way up to featured roles. While most of Hagney's film work is forgettable, he had the honor of contributing to a bonafide classic in 1946. Director Frank Capra hand-picked Frank S. Hagney to portray the faithful bodyguard of wheelchair-bound villain Lionel Barrymore in the enduring Yuletide attraction It's A Wonderful Life (1946).

Trivia: South African-born actress Cecil Weston came to America with her husband, cinematographer/producer Fred Balshofer, in the early teens. Weston's best-known talkie-film role was Mrs. Thatcher in the 1931 version of Huckleberry Finn. She went on to play scores of minor roles as mothers, dowagers, and nurses. After a few more character parts at 20th Century Fox, Cecil Weston retired in 1962.