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: The son of legendary Broadway actor DeWolfe Hopper and movie actress Hedda Hopper, William Hopper made his film debut as an infant in one of his father's films. The popular consensus is that the younger Hopper was given his first talking-picture break because of his mother's reputation as the most feared of the Hollywood gossips. Not so: Hopper was signed to his first Warner Bros. contract in 1937, a year or so before Hedda had established herself as the queen of the dirt-dishers. At first billing himself as DeWolfe Hopper Jr., Hopper languished in bit parts and walk-ons for several years. He wasn't able to graduate to better roles until the 1950s, by which time he was calling himself William Hopper. After a largely undistinguished film career (notable exceptions to his usual humdrum assignments were his roles in 20 Million Miles to Earth [1957] and The Bad Seed [1956]) Hopper finally gained fame -- and on his own merits -- as private detective Paul Drake on the enormously popular Perry Mason television series, which began its eight-season run in 1957. In a bizarre coincidence, Perry Mason left the air in 1966, the same year that William Hopper's mother Hedda passed away.

Trivia: In critiquing a minor science fiction film of the late '50s, a prominent film historian characterized star Phillip Abbott as "...the kind of actor whose face you forget five minutes after seeing it." While there is some truth in this, let it be recorded here and now that Abbott's professional credentials were as impeccable and impressive as any "unforgettable" star. After serving with the U.S. Air Force in World War II (and earning an air medal and three oak-leaf clusters in the process), Abbott attended Fordham University, and later studied acting at the Pasadena Playhouse. Making his Broadway debut in 1948, he went on to appear in such stage successes as Detective Story and Two for the Seesaw. Far from being completely unmemorable in films, Abbott had at least two praiseworthy screen characterizations to his credit: nervous groom-to-be Arnold in The Bachelor Party (1957) and doctor-with-a-secret George Scudder in Sweet Bird of Youth (1962). His many network television credits included a stint as host/narrator on the experimental 1960 psychological soap opera House on High Street, and the continuing role of Assistant Director Arthur Ward on The FBI (1965-1974). Before, during, and after the height of his film and TV activities, Abbott continued to be a busy stage actor/director. In 1962, he co-founded Theatre West, an L.A.-based actor's workshop. He also produced, directed, and wrote nine instructional films for the Law Enforcement Assistance Administration, as well as the ten-episode Lessons for Living, an in-school training project underwritten by the Disney studios. In addition, he created and produced the TV weekly Hidden Places on behalf of Nebraska Public Television. Outside of his professional activities, Abbott was active with the United Cerebral Palsy/Spastic Children's Foundation, and was one of the leading citizens of Tarzana, CA, where he served as president of the Nelson Company. Forgettable though his screen appearances may have been at times, Phillip Abbott will always be remembered by someone.

Trivia: Barbara Lawrence already had 10 years' experience as a photographer's model when, at age 17, she appeared in her first film, Billy Rose's Diamond Horseshoe (1945). She completed her studies at UCLA while co-starring in such 20th Century-Fox productions as Margie (1946) and Unfaithfully Yours (1948). Only occasionally a leading lady, Lawrence was generally cast as the heroine's best friend -- or, if there was a man involved, worst enemy. Lawrence's best-known screen role was the giggling Gertie Cummings in Oklahoma (1955), a part she had previously played on stage. In 1977, an unexpected biography appeared, Jim Connor's Hollywood Starlet: The Career of Barbara Lawrence.

Trivia: As a screen performer, Vinton Hayworth had an evolution similar to that of his older contemporary, Ernest Truex, beginning in weasley and milquetoast roles (often as good-natured but conniving husbands) and aging into dignified character parts; screen work, however, was only a small part of his career. Born Vinton Haworth in Washington, D.C., in 1906, he began acting in his late teens. Possessed of a melodious voice, he was a pioneering radio announcer in the early '20s, first in Washington, later in New York, and then in Chicago, where he became familiar to the public as one of the first identifiable newscasters in the new medium. Subsequently, he also appeared on numerous radio programs in various roles. Hayworth entered movies in 1933, under the stage name Jack Arnold (not to be confused with the movie director of that name), and made appearances in small roles under that name, as well as under his real name. He usually played comically good-natured, sneaky characters, such as nervous husbands trying to get a night out away from the wife. His appearances as Jack Arnold ended in the early '40s and he did a two-year stint on Broadway, from 1942 to 1944, in the cast of Doughgirls before returning to California. His appearances in film from the late '50s onward, usually in crafty but dignified roles, were under his own name, to which he added the "y" to the spelling in the mid-'60s. By that time, Hayworth, sporting a dignified moustache and thinning, elegant silvery hair, had settled into avuncular character parts, in anthology series such as Alfred Hitchcock Presents and on programs like Gunsmoke, Perry Mason, Dennis The Menace, Petticoat Junction, Hazel, and The Munsters. On Green Acres, he played Dr. Faber, the long-suffering New York phyisican to Eddie Albert's Oliver Wendell Douglas. He is best remembered for his portrayal of General Schaeffer, Tony Nelson's commanding officer in I Dream of Jeannie for the series' final two seasons. Haworth, who had been a leading anti-communist spokesman for his profession during the 1930's and 1940's, became notorious during the early/mid-1950s for his participation in the blacklist while an officer of AFTRA and also a leader of Aware, Inc., an anti-communist "screening" organization that regularly named members of the acting profession as suspect. He and the slate that he headed within the union organized against accused and alleged communists and also moderates who were opposed to the warfare between the right and the left, and Haworth became so well-known for his political activities that he was considered unemployable by many producers, this in a time when anti-communism was in the ascent. His career recovered somewhat in the 1960's as the passions over this issue died down. Haworth passed away in 1970, at the age of 63. His wife, the former Jean Owens, was the aunt of actress Ginger Rogers.

Trivia: James Coburn was an actor whose style allowed him to comfortably embrace drama, action, and comedy roles, and many of his best-known performances found him blending elements of all these styles in roles that overflowed with charisma and a natural charm. Born in Laurel, NE, on August 31, 1928, Coburn relocated to California as a young man, and first developed an interest in acting while studying at Los Angeles City College. After appearing in several student productions, he decided to take a stab at acting as a profession, and enrolled in the theater department at U.C.L.A. Coburn earned his first notable reviews in an adaptation of Herman Melville's Billy Budd, staged at Los Angeles' La Jolla Playhouse, which starred Vincent Price. In the early '50s, Coburn moved to New York City, where he studied acting with Stella Adler, and began working in commercials and live television. In 1958, Coburn won a recurring role on a Western TV series called Bronco, and scored his first film role the following year in Budd Boetticher's Ride Lonesome, starring Randolph Scott. For a while, Coburn seemed to find himself typecast as a heavy in Westerns, most notably in The Magnificent Seven, and later starred in two action-oriented TV series, Klondike (which ran for 18 weeks between 1960 and 1961) and Acapulco (which lasted a mere eight weeks in 1961). However, after a strong showing in the war drama Hell Is for Heroes, Coburn finally got to play a big-screen hero as part of the ensemble cast of 1963's The Great Escape. In 1964, Coburn got a chance to show his flair for comedy in The Americanization of Emily, and in 1965 he appeared in Major Dundee, the first of several films he would make with iconoclastic director Sam Peckinpah. In 1966, Coburn finally hit full-fledged stardom in Our Man Flint, a flashy satiric comedy which put an American spin on the James Bond-style superspy films of the period. Coburn's deft blend of comic cheek and action heroics as Derek Flint made the film a major box-office success, and in 1967 he appeared in a sequel, In Like Flint, as well as two similar action comedies, Duffy and the cult film The President's Analyst (the latter of which Coburn helped produce). Moving back and forth between comedies (Candy, Harry in Your Pocket), Westerns (Pat Garrett and Billy the Kid), and dramas (The Last of Shelia, Cross of Iron), Coburn was in high demand through much of the 1970s. He also dabbled in screenwriting (he penned a script for his friend Bruce Lee which was filmed after Lee's death as Circle of Iron, starring David Carradine) and directing (he directed an episode of the TV series The Rockford Files, as well as handling second-unit work on Sam Peckinpah's Convoy). By the end of the decade, however, his box-office allure was not what it once was, although he remained a potent draw in Japan. Coburn remained busy in the 1980s, with supporting roles in theatrical films, larger roles in television projects, and voice-over work for documentaries. In 1979, Coburn was diagnosed with rheumatoid arthritis, and in the mid-'80s, when his illness failed to respond to conventional treatment, he began to cut back on his work schedule. But in the 1990s, a holistic therapist was able to treat Coburn using nutritional supplements, and he began appearing onscreen with greater frequency (he also appeared in a series of instructional videos on gambling strategies, one of Coburn's passions). He won a 1999 Academy Award as Best Supporting Actor for his intense portrayal of an abusive father in Paul Schrader's film Affliction, and the award kick-started Coburn's career. He would work on more than a dozen projects over the next two years, but Coburn then succumbed to a heart attack in 2002. Coburn was survived by two children, James H. Coburn IV and Lisa Coburn, his former spouse Beverly Kelly, and Paula Murad, his wife at the time of his death.

Trivia: A B-Western starlet, Virginia Carroll (née Broberg) sometimes played the heroine -- Oklahoma Terror (1939), opposite Jack Randall, and Johnny Mack Brown's Triggerman (1948) -- but more often than not appeared further down the cast list as the leading lady's sister or a saloon belle. Carroll did her fair share of serials, including G-Men vs. the Black Dragon (1943) and The Crimson Ghost (1946) but, again, never played the heroine. In fact, she was Martha Kent in the 15-chapter Superman (1948). Carroll continued to appear in small roles through 1959. She was married to actor Ralph Byrd, the screen's original Dick Tracy.

Trivia: Basically a bit player, tall, dark-haired Paul Power (born Luther Vestergaard) came to films in 1925 with a background as a lawyer. Although rarely featured, Power spent more than three decades playing a variety of bit roles that included one of King Richard's knights in The Adventures of Robin Hood (1938), a Scottish highlander in I Married an Angel (1942), and a minister in Ma Barker's Killing Brood (1960). He added television to his long resumé in the 1950s, appearing in such shows as I Love Lucy, Perry Mason, and Maverick.

Trivia: For over 30 years, Paul Lambert played character roles on stage, screen, and television. He started out on the Manhattan stage in the early '50s. He also launched his television career around that time, appearing in series through the '80s ranging from Playhouse 90 to Hogan's Heroes to Doogie Howser, M.D.. Lambert died of cancer on April 27, 1997, at age 74.

Trivia: Probably no one came by the label "Runyon-esque" more honestly than Polish-born actor George E. Stone; a close friend of writer Damon Runyon, Stone was seemingly put on this earth to play characters named Society Max and Toothpick Charlie, and to mouth such colloquialisms as "It is known far and wide" and "More than somewhat." Starting his career as a Broadway "hoofer," the diminutive Stone made his film bow as "the Sewer Rat" in the 1927 silent Seventh Heaven. His most prolific film years were 1929 to 1936, during which period he showed up in dozens of Warner Bros. "urban" films and backstage musicals, and also appeared as the doomed Earle Williams in the 1931 version of The Front Page. He was so closely associated with gangster parts by 1936 that Warners felt obligated to commission a magazine article showing Stone being transformed, via makeup, into an un-gangsterish Spaniard for Anthony Adverse (1936). For producer Hal Roach, Stone played three of his oddest film roles: a self-pitying serial killer in The Housekeeper's Daughter (1938), an amorous Indian brave in Road Show (1940), and Japanese envoy Suki Yaki in The Devil With Hitler (1942). Stone's most popular role of the 1940s was as "the Runt" in Columbia's Boston Blackie series. In the late '40s, Stone was forced to severely curtail his acting assignments due to failing eyesight. Though he was totally blind by the mid-'50s, Stone's show business friends, aware of the actor's precarious financial state, saw to it that he got TV and film work, even if it meant that his co-stars had to literally lead him by the hand around the set. No one was kinder to George E. Stone than the cast and crew of the Perry Mason TV series, in which Stone was given prominent billing as the Court Clerk, a part that required nothing more of him than sitting silently at a desk and occasionally holding a Bible before a witness.