Trivia: Red-headed, freckle-faced Martin Milner was only 15 when he made his screen debut in Life With Father (1947), and would continue to play wide-eyed high schoolers and college kids well into the next decade. His early film assignments included the teenaged Marine recruit in Lewis Milestone's The Halls of Montezuma (1951) and the obnoxious suitor of Jeanne Crain in Belles on Their Toes (1952). His first regular TV series was The Stu Erwin Show (1950-1955), in which he played the boyfriend (and later husband) of Stu's daughter Joyce. More mature roles came his way in Marjorie Morningstar (1957) as Natalie Wood's playwright sweetheart and in The Sweet Smell of Success (1957) as the jazz musician targeted for persecution by Winchell-esque columnist Burt Lancaster. Beginning in 1960, he enjoyed a four-year run as Corvette-driving Tod Stiles on TV's Route 66 (a statue of Milner and his co-star George Maharis currently stands at the Corvette Museum in Bowling Green, KY). A longtime friend and associate of producer/director/actor Jack Webb, Milner was cast as veteran L.A.P.D. patrolman Pete Malloy on the Webb-produced TV weekly Adam-12, which ran from 1968 to 1975. His later TV work included a short-lived 1970s series based on Johan Wyss' Swiss Family Robinson. Later employed as a California radio personality, Martin Milner continued to make occasional TV guest appearances; one of these was in the 1989 TV movie Nashville Beat, in which he was reunited with his Adam-12 co-star Kent McCord. He made an appearance on the short-lived series The New Adam-12 and had recurring roles on shows like Life Goes On and Murder, She Wrote. Milner died in 2015, at age 83.

Trivia: Supporting actor Kent McCord is best known for co-starring in the long-running series Adam-12 (1968-1975). McCord made his film debut in the made-for-television movie The Outsider (1967). Following the demise of Adam-12, McCord continued appearing in TV films and in low-budget features such as Unsub (1985) and Return of the Living Dead 3 (1993).

Trivia: Rotund musical comedy actor Stubby Kaye was a 1939 winner on Major Bowes' Amateur Hour radio program. He spent much of World War II touring USO bases, developing an ingratiating comic style that has dimmed but little with the passage of time. Earlier efforts by movie historians to determine Mr. Kaye's real name have been fruitless, but it should be noted that someone named "Stubby Kruger" appeared as comedy relief in several PRC films of the early 1940s. Kayes' popularity soared when he created the role of Nicely-Nicely Johnson in the 1950 Broadway hit Guys and Dolls, a part that he re-created with equal success in the 1955 film version. Another Broadway-to-Hollywood triumph for Kaye was the part of Marryin' Sam in the musical version of Li'l Abner. In 1965, Kaye hosted a Saturday morning TV kiddie series titled Shenanigans, commuting on a weekly basis between the U.S. and London, where he was simultaneously hosting a similar children's TV program. Stubby Kaye's last screen appearance was as the ill-fated funster Marvin Acme in 1988's Who Framed Roger Rabbit? He made his final television appearance that same year in the telepic The Big Knife.

Trivia: American actor Robert Emhardt began his Broadway career in the late '30s as an understudy for corpulent character star Sidney Greenstreet whom he closely resembled. In films from 1952, the paunchy, phlegmatic Emhardt carved a niche in characterizations calling for gross, obnoxious villainy. His best and most typical screen role was the "respectable" crime boss in Sam Fuller's Underworld U.S.A. (1961). A television fixture well into the 1980s, Robert Emhardt showed up in several Alfred Hitchcock Presents installments, was seen on a regular basis as Mackenzie Cory on the daytime soap opera Another World, and won an Emmy for his wonderful performance as an ulcerated businessman stranded in Mayberry, NC, in "Man in a Hurry," a 1963 episode of The Andy Griffith Show.

Trivia: The screen's premier "comic gangster," Allen Jenkins studied at the American Academy of Dramatic Arts and worked several years in regional stock companies and on Broadway before talking pictures created a demand for his talents in Hollywood. One of his first films was Blessed Event (1932), in which Jenkins played the role he'd originated in the stage version. This and most subsequent Allen Jenkins films were made at Warner Bros., where the actor made so many pictures that he was sometimes referred to as "the fifth Warner Brother." As outspoken and pugnacious off screen as on, Jenkins was a member in good standing of Hollywood's "Irish Mafia," a rotating band of Hibernian actors (including James Cagney, Pat O'Brien, Matt McHugh and Jimmy Gleason) who palled around incessantly. Popular but undisciplined and profligate with his money, Jenkins was reduced to "B" films by the 1940s and 1950s, including occasional appearances in RKO's Falcon films and the Bowery Boys epics at Monogram; still, he was as game as ever, and capable of taking any sort of physical punishment meted out to his characters. TV offered several opportunities for Jenkins in the 1950s and 1960s, notably his supporting role on 1956's Hey Jeannie, a sitcom starring Scottish songstress Jeannie Carson, and 30 weeks' worth of voice-over work as Officer Dibble on the 1961 animated series Top Cat. Going the dinner theater and summer stock route in the 1960s, Jenkins was as wiry as ever onstage, but his eyesight had deteriorated to the point that he had to memorize where the furniture was set. Making ends meet between acting jobs, Jenkins took on work as varied as tool-and-die making for Douglas Aircraft and selling cars for a Santa Monica dealer. Asked in 1965 how he felt about "moonlighting", Jenkins (who in his heyday had commanded $4000 per week) growled, "I go where the work is and do what the work is! Moonlighting's a fact. The rest is for the birds." Towards the end of his life, Jenkins was hired for cameo roles by directors who fondly remembered the frail but still feisty actor from his glory days; one of Jenkins' last appearances was as a telegrapher in the final scene of Billy Wilder's The Front Page (1974).