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: 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: Although never a major star, Danish-born actress Osa Massen made an impact in such 1940s melodramas as A Woman's Face (1941), in which she engages in an outright catfight with heroine Joan Crawford, and the noir thriller Deadline at Dawn (1946), as a woman with something to hide. Trained as a newspaper photographer, Massen (born Aase Madsen) was persuaded by Danish director Alice O'Fredericks to make her acting debut in Kidnapped (1935), a comedy starring Denmark's answer to Shirley Temple, and although Osa had designs on a career as a film cutter, she agreed to appear in a second Danish film, the seemingly lost Bag Københavns Kulisser (1935). A screen test for 20th Century Fox led to a Hollywood contract. Director Edward H. Griffith cast her as a Dutch-Polynesian femme fatale in Honeymoon in Bali (1939), which several reviewers thought she stole outright from nominal stars Madeleine Carroll and Fred MacMurray. Switching to Warner Bros., Massen appeared mainly in potboilers, her best assignment coming on loan to MGM in the aforementioned A Woman's Face, a remake of a Swedish melodrama that had starred Ingrid Bergman, with whom Massen was often compared. Playing leading roles in low-budget productions and supporting parts in Grade-A films, Osa, as many critics pointed out, always made her moments count. She scored as a mystery woman murdered on a train in Background to Danger (1943), a rather fanciful espionage thriller starring George Raft. Deadline at Dawn (1946), in which she played Paul Lukas' daughter, was one of the first true film noirs and Massen was again singled out by several critics. After being continually confused with Ona Munson and Hungarian import Ilona Massey, co-star Gene Raymond persuaded her to change her name to Stefanie Paull for Million Dollar Weekend (1948). She was back to Osa Massen in Rocketship X-M (1950), an early sci-fi thriller and perhaps her best-remembered film. Divorced from Alan Hersholt, the son of character actor Jean Hersholt, Massen was widowed by her second husband, a Beverly Hills physician, in 1953. At that point, she concentrated on television guest roles. After appearing in shows ranging from Perry Mason to Wagon Train, Massen made her final screen appearance in Outcasts of the City (1958), a love story set in Germany and one of the last films released by Republic Pictures. Divorced from her third husband, a Hollywood dentist, she faded completely from public view.

Trivia: Best known for his roles on such television dramas as Dallas and the macabre Dark Shadows, actor Dennis Patrick also carried the distinction of being the small screen's first vampire. Born in Philadelphia, PA, in March 1918, Patrick began a prolific and enduring television career with roles in Star Tonight and Kraft Television Theater. Subsequently appearing in a handful of features and a slew of made-for-television movies, Patrick's roles in Dark Shadows and Dallas brought him the greatest success of his career. Married to actress Barbara Carson, Patrick was left a widower following his wife's death in 1990. On October 13, 2002, Dennis Patrick died in a home fire in the Hollywood Hills with his dog by his side. He was 84.

Trivia: A Utah girl born and bred, actress Marie Windsor attended Brigham Young University and represented her state as Miss Utah in the Miss America pageant. She studied acting under Russian stage and screen luminary Maria Ouspenskaya, supporting herself as a telephone operator between performing assignments. After several years of radio appearances and movie bits, Windsor was moved up to feature-film roles in 1947's Song of the Thin Man. She was groomed to be a leading lady, but her height precluded her co-starring with many of Hollywood's sensitive, slightly built leading men. (She later noted with amusement that at least one major male star had a mark on his dressing room door at the 5'6" level; if an actress was any taller than that, she was out.) Persevering, Windsor found steady work in second-lead roles as dance hall queens, gun molls, floozies, and exotic villainesses. She is affectionately remembered by disciples of director Stanley Kubrick for her portrayal of Elisha Cook's cold-blooded, castrating wife in The Killing (1956). Curtailing her screen work in the late '80s, Windsor, who is far more agreeable in person than onscreen, began devoting the greater portion of her time to her sizeable family. Because of her many appearances in Westerns (she was an expert horsewoman), Windsor has become a welcome and highly sought-after presence on the nostalgia convention circuit.

Trivia: Philip Terry labored away as an oil-rig worker until enrolling at Stanford University, where the 6'1" San Franciscan distinguished himself on the football field. After college, Terry travelled to London to study acting, assuming that a British accent would automatically assure him good roles upon his return to America (it didn't). A nominal movie leading man at RKO and Paramount in the early 1940s, Terry managed to pick up a few good notices for his star turn in the 1941 western The Parson of Panamint. The following year, Terry became the third husband of superstar Joan Crawford (he'd been a bit player in Crawford's 1937 vehicle Mannequin, but was not formally introduced to the actress until four years later). A competent but bland screen presence, Terry tended to be overshadowed by his world-famous spouse. Though all reports indicate that the marriage was a happy one, Terry eventually chafed at being Mr. Joan Crawford, and in 1946 the couple was amicably divorced. In films until 1966, Philip Terry is best remembered for his portrayal of Wick Birman, the straight-arrow brother of alcoholic Ray Milland in The Lost Weekend (1945).

Trivia: American actor Malcolm Atterbury may have been allowed more versatility on stage, but so far as TV was concerned he was the quintessential grouchy grandfather and/or frontier snake-oil peddler. Atterbury was in fact cast in the latter capacity twice by that haven of middle-aged character players The Twilight Zone. He was the purveyor of an elixir which induced invulnerability in 1959's "Mr. Denton on Doomsday" and a 19th century huckster who nearly sets a town on fire in "No Time Like the Past" (1963). Atterbury enjoyed steadier work as the supposedly dying owner of a pickle factory in the 1973 sitcom Thicker Than Water, and as Ronny Cox's grandfather on the 1974 Waltons clone Apple's Way. Malcolm Atterbury's best-known film role was one for which he received no screen credit: he was the friendly stranger who pointed out the crop-duster to Cary Grant in North By Northwest (1959), observing ominously that the plane was "dustin' where they're aren't any crops."

Trivia: Rough-edged character actor Morgan Woodward is the son of a Texas physician. Specializing in Westerns, the 6'3" Woodward has been seen in scores of big-screen oaters, and in 1956 held down the semi-regular role of Shotgun Gibbs in the TV series The Life and Legend of Wyatt Earp. He has also made quite a few non-Western appearances on such video weeklies as Star Trek and The A-Team. In his spare time, Morgan Woodward is a licensed pilot.

Trivia: Despite his small-town charm and white-bread handsomeness, there was a queasy quality in the performances of American actor Edward Norris that suggested a basic inner weakness. As such, he was ideally cast as the average Joe accused of a crime he didn't commit, or as the outwardly helpful chap who turned out to be the calculating murderer in the last reel. A former reporter, Norris began making films in the early '30s. He did everything from Our Gang comedies (Teacher's Beau [1935]) to Garbo features (Queen Christina [1933]). His most conspicuous "innocent victim" role was as the schoolteacher falsely convicted of murdering high school student Lana Turner in They Won't Forget (1937). Norris' mockery of a trial and subsequent lynching were patterned after the real-life fate of Leo Frank; that 1915 lynching was obviously fueled by anti-Semitism, but Warners hedged its bets by casting the aggressively Anglo-Saxon Norris as the Leo Frank counterpart. Offscreen, Norris was as self-assured as his screen characters were put-upon; he was married five times, and three of his wives (Lona Andre, Ann Sheridan and Sheila Ryan) were Hollywood co-workers. Edward Norris quit movies cold in 1955 to become a businessman, never looking backward at his long career nor harboring any regrets at abandoning it.

Trivia: American actor Francis de Sales appeared on stage, screen, radio and television. He got his start on Broadway as one of the original "Dead End" kids. He later starred in his own radio series and from there moved into television until the late 1950s when he started his film career. De Sales continued appearing in films through the mid '70s.

Trivia: Supporting actor Tommy Farrell first appeared onscreen in 1950. He is the son of actress Glenda Farrell.

Trivia: A professional actor since childhood, Philadelphia-born William Tracy came to Hollywood in his Broadway role as a military school "plebe" in Brother Rat (1938). Kept briefly under contract to Warner Bros, Tracy went on to play Pat O'Brien as a boy in the classic gangster saga Angels with Dirty Faces. The cherub-faced actor then went on to Hal Roach Studios, where he costarred in several "streamliners" (45 minute films, designed for double-feature bills) with Joe Sawyer. In such slick little comedies as Tanks a Million (1941), About Face (1941) and Yanks Ahoy (1942), Tracy played a rookie serviceman with a photographic memory, while Sawyer played his tough topkick. An attempt to recreate the team in 1951 with a pair of Lippert Studios quickies, As You Were! and Mister Walkie Talkie, sank without a trace. Tracy's other big-screen role of note was as Terry Lee in the serialized movie version of Milton Caniff's comic strip Terry and the Pirates (1940). William Tracy spent the remainder of his career in the '50s and '60s in small movie and TV supporting parts, save for a worthwhile costarring stint with John Russell in the popular 1955 syndicated TV adventure show Soldiers of Fortune.

Trivia: Comic actor Robert Ball was a fixture in television and, to a lesser degree, movies, from the late 1950s until the early 1990s. Mostly seen in group settings and character roles -- and billed variously as Robert Ball, Robert E. Ball, Bob Ball, and Bobby Ball -- his somewhat diminutive size only served to accentuate the impact of his wry, sardonic delivery, an attribute that various producers (including Leonard Stern and, later, Carl Reiner and Garry Marshall) used to piercing effect in episodes of their television series. Ball made his small-screen debut during 1957 on the series The Adventures of McGraw, and a year later he was part of the cast of Bruno VeSota's The Brain Eaters (1958), a low-budget science fiction film. These were both straight acting jobs, and any humor in The Brain Eaters, in particular, was wholly unintended. But when VeSota -- a busy character actor who occasionally worked as a filmmaker -- next occupied the director's chair four years later for Invasion of the Star Creatures (1962), Ball (billed as Bob Ball) had the lead role of Private Philbrick and was running on all comic cylinders. Alas, the movie wasn't up to what Ball and costar Frankie Ray brought to their roles, and it was singularly unappreciated by most critics. It has since become a kind of cult touchstone among aficionados of low-budget science fiction, horror, and so-called "psychotronic" cinema. In between The Brain Eaters and Invasion of the Star Creatures, Ball busied himself with small roles on every kind of television series, including Peter Gunn, Perry Mason, Route 66, Frontier Circus, Dr. Kildare, The Twilight Zone, I'm Dickens...He's Fenster, Mr. Novak, Ben Casey, The Jack Benny Program, and The Dick Van Dyke Show. He was particularly effective on the latter, in the episode "Bupkis", as Rob Petrie's larcenous former Army buddy who had signed his name to a song he had almost nothing to do with. Ball was something of a chameleon-like presence and could melt into a part, and even those familiar with his work could miss him in some of those roles. But stars and producers obviously liked his work. Dick Van Dyke Show creator/producer Carl Reiner used him in The Comic (1969) and in the subsequent New Dick Van Dyke Show, and longtime Reiner cohort Howard Morris used him in Who's Minding the Mint (1967). Ball had a relatively easy time slipping into the counter-culture era, getting roles in such representative films of the period as Easy Rider (as one of the mimes), Bunny O'Hare, and Zachariah. Continuing in television, he worked steadily across genres, including Westerns such as Bonanza and '70s topical sitcoms like Maude. Producer Garry Marshall -- himself a Dick Van Dyke Show alumnus -- gave him memorable comedic roles in The Odd Couple, Laverne and Shirley, and Happy Days; and Ball was one of the Marshall stock company picked up for the feature films Young Doctors in Love (1982) and Beaches (1988). This was, of course, sandwiched in between work on Starsky and Hutch, Kojak, and a dozen other TV series. Ball retired after 1992.

Trivia: Lisa Davis was one of 1950's cinema's most attractive supporting players. Born Cherry Ann Davis in 1936 to a performing family -- her father was the renowned British bandleader Harry Davis, her mother a chorus girl -- she made her screen debut in 1941, at age five. Her older sister Beryl Davis subsequently found success as a singer, working first with their father's band, and later with Django Reinhardt and Glenn Miller, amongst many others, before coming to America and working with Frank Sinatra. The younger Davis sibling attended the Arts Educational School while continuing to get roles on-screen, and in 1947 portrayed Jean Siimmons' character as a child in the film Woman In The Hall. Three years later, she was considered for the title-role by Walt Disney in his aborted live-action Alice In Wonderland. She later went to work for MGM and later at Columbia, and ended up re-christened Lisa Davis by John Ford while working on the latter's production of The Long Gray Line (1955). The 19-year-old Davis was, by this time, also starting to attract attention from the press over the men who were interested in her -- the latter included English actor Michael Rennie and American leading man Richard Long. In 1957, she was signed to play a major co-starring role in Queen Of Outer Space (originally "Queen of the Universe"), where she met her future husband, co-star Patrick Waltz. Davis managed to get noticed in the movie, despite competition for attention from Zsa Zsa Gabor and a brace of international beauty pageant winners. Amid more film and television work, and even some theatrical appearances, she and Waltz were married in 1958, and they later had two daughters and a son. Davis had another professional rendezvous with Walt Disney in 1959, when she was approached about portraying one of the characters in the animated feature 101 Dalmations -- Davis voiced the part of Anita, and the movie went on to become her best-known screen work. She retired from acting in the 1960's, and she and Waltz were divorced in 1971, a year before his death from a heart attack.

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: Working in virtual anonymity throughout his film career, the sharp-featured, gangly character actor Harry Strang was seldom seen in a feature film role of consequence. From 1930 through 1959, Strang concentrated on such sidelines characters as soldiers, sentries, beat cops and store clerks. He was given more to do and say in 2-reel comedies, notably in the output of RKO Radio Pictures, where he appeared frequently in the comedies of Leon Errol and Edgar Kennedy. Harry Strang will be remembered by Laurel and Hardy fans for his role as a desk clerk in Block-Heads (1938), in which he was not once but twice clobbered in the face by an errant football.