Trivia: It was his failure as a playwright that led Robert Ryan to a three-decade career as an actor. He was a unique presence on both the stage and screen, and in the Hollywood community, where he was that rarity: a two-fisted liberal. In many ways, at the end of the 1940s, Ryan was the liberals' answer to John Wayne, and he even managed to work alongside the right-wing icon in Flying Leathernecks (1951). The son of a successful building contractor, Ryan was born in Chicago in 1909 and attended Dartmouth College, where one of his fraternity brothers was Nelson Rockefeller. He was a top athlete at the school and held its heavyweight boxing title for four straight years. Ryan graduated in 1932, during the depths of the Great Depression, and intended to write plays. Finding no opportunities available in this field, he became a day laborer; he stoked coal on a ship bound for Africa, worked as a sandhog, and herded horses in Montana, among other jobs. Ryan finally had his chance to write as a member of a theater company in Chicago, but proved unsuccessful and turned to acting. He arrived in Hollywood at the end of the '30s and studied at the Max Reinhardt Workshop, making his professional stage debut in 1940. He appeared in small roles for Paramount Pictures, but Ryan's real film career didn't begin until several years later. He returned east to appear in stock, and landed a part in Clifford Odets' Clash by Night, in which he worked opposite Tallulah Bankhead and got excellent reviews. Ryan came to regard that production and his work with Bankhead as the pivotal point in his career. The reviews of the play brought him to the attention of studio casting offices, and he was signed by RKO. The actor made his debut at the studio in the wartime action thriller Bombardier. It was a good beginning, although his early films were fairly lackluster and his career was interrupted by World War II -- he joined the Marines in 1944 and spent the next three years in uniform. Ryan's screen career took off when he returned to civilian life in 1947. He starred in two of the studio's best releases that year: Jean Renoir's The Woman on the Beach and Edward Dmytryk's Crossfire, the latter an extraordinary film for its time dealing with troubled veterans and virulent anti-Semitism, with Ryan giving an Oscar-nominated performance as an unrepentant murderer of an innocent Jewish man. He continued to do good work in difficult movies, including the Joseph Losey symbolic drama The Boy With Green Hair (1948) and with Robert Wise's The Set-Up (1949). The latter film (which Ryan regarded as his favorite of all of his movies) was practically dumped onto the market by RKO, though the studio soon found itself with an unexpected success when the film received good reviews, it was entered in the Cannes Film Festival, and it won the Best Picture award in the British Academy Award competition. Ryan also distinguished himself that year in Dmytryk's Act of Violence and Max Ophüls' Caught, Nicholas Ray's On Dangerous Ground in 1951, and then repeated his stage success a decade out in Fritz Lang's Clash by Night (1952). Along with Robert Mitchum, Ryan practically kept the studio afloat during those years, providing solid leading performances in dozens of movies. In the late '50s, he moved into work at other studios and proved to be one of the most versatile leading actors in Hollywood, playing heroes and villains with equal conviction and success in such diverse productions as John Sturges' Bad Day at Black Rock (1955), Anthony Mann's God's Little Acre (1958), Wise's Odds Against Tomorrow (1959), and Peter Ustinov's Billy Budd (1962). Even in films that were less-than-good overall, he was often their saving grace, nowhere more so than in Ray's King of Kings (1961), in which he portrayed John the Baptist. Even during the late '40s, Ryan was never bashful about his belief in liberal causes, and was a highly vocal supporter of the so-called "Hollywood Ten" at a time when most other movie professionals -- fearful for their livelihoods -- had abandoned them. He was also a founder of SANE, an anti-nuclear proliferation group, and served on the board of the American Civil Liberties Union. During the early '50s, he'd fully expected to be named in investigations and called by the House Select Committee on Un-American Activities or Senator Joseph R. McCarthy, but somehow Ryan was never cited, despite his public positions. In later years, he attributed it to his Irish last name, his Catholic faith, and the fact that he'd been a marine. Considering his career's focus on movies from the outset, Ryan also fared amazingly well as a stage actor. In addition to Clash by Night, he distinguished himself in theatrical productions of Shakespeare's Coriolanus in 1954 at Broadway's Phoenix Theater and a 1960 production of Antony and Cleopatra opposite Katharine Hepburn at the American Shakespeare Festival. (Hepburn later proposed him for the lead in the Irving Berlin musical Mr. President in 1962.) Ryan's other theatrical credits included his portrayal of the title role in the Nottingham (England) Repertory Theater's production of Othello, Walter Burns in a 1969 revival of The Front Page, and James Tyrone in a 1971 revival of Long Day's Journey Into Night. Not all of Ryan's later films were that good. His parts as the American field commander in Battle of the Bulge and Lee Marvin's army antagonist in The Dirty Dozen were written very unevenly, though he was good in them. He was also a strange choice (though very funny) for black comedy in William Castle's The Busy Body, and he wasn't onscreen long enough (though he was excellent in his scenes) in Robert Siodmak's Custer of the West. But for every poor fit like these, there were such movies as John Sturges' Hour of the Gun and Sam Peckinpah's The Wild Bunch, in which he excelled. His success in Long Day's Journey Into Night was as prelude to his last critical success, as Larry in John Frankenheimer's The Iceman Cometh (1973). Ironically, at the time he was playing a terminally ill character in front of the camera, Ryan knew that he was dying from lung cancer. During this time he also filmed a hard-hitting anti-smoking public service announcement that directly attributed his condition to his long-time heavy use of cigarettes.

Trivia: Tough-talking American character actor Perry Lopez played "ethnic" roles from the time of his his stage debut in the early 1950s. Signed to a Warner Bros. contract in 1955, Lopez lent support to such studio projects as Mister Roberts (1955), The McConnell Story (1956) and The Violent Road (1958). He is best remembered as police officer Lou Escobar in Roman Polanski's Chinatown (1974). Perry Lopez reprised this uniformed character (now promoted to captain) in the 1990 Chinatown sequel The Two Jakes. Lopez died of lung cancer in February 2008.

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: A versatile, commanding, leathery character actor, he learned to raise and ride broncos on his family's ranch during his youth. He attended college for two years, became a seaman, then began his performing career as a radio announcer; he became nationally known as an announcer on the "March of Time" broadcasts. Onscreen from the late '40s, he often portrayed law officers; he was also convincing as a villain. He was well-known for his TV work; he starred in the series Naked City and Wagon Train. He was married to actress Jeanette Nolan, with whom he appeared in Saddle Tramp (1950) and Two Rode Together (1961); they also acted together on radio, and in the late '60s they joined the cast of the TV series The Virginian, portraying a married couple. Their son was actor Tim McIntire.

Trivia: Redheaded leading man Robert Horton attended UCLA, served in the Coast Guard during World War II, and acted in California-based stage productions before making his entree into films in 1951. Horton's television career started off on a high note in 1955, when he was cast in the weekly-TV version of King's Row as Drake McHugh (the role essayed by Ronald Reagan in the 1942 film version). The series barely lasted three months, but better things were on the horizon: in 1957, Horton was hired to play frontier scout Flint McCullough in Wagon Train, which became the highest-rated western on TV. Horton remained with Wagon Train until 1962. He then did some more stage work before embarking on his third series, 1965's The Man Called Shenandoah. When this one-season wonder ran its course, Horton toured the dinner-theatre circuit, then in 1982 accepted a major role on the popular daytime soap opera As the World Turns. Horton continued acting until the late 1980s. He died in 2016, at age 91.

Trivia: The son of actor Lloyd Bridges, Beau Bridges (born Lloyd Vernet Bridges III) was actually named for his father; the nickname "Beau" was borrowed from Ashley Wilkes' son in Gone With the Wind. Beau received good billing for his secondary juvenile role in The Red Pony in 1949, although he was primarily seen in bit parts during the late '40s. This suited him fine; not all that interested in films, young Bridges had aspirations of being a basketball star. Despite being only 5'9", he played on the U.C.L.A. basketball team and at the University of Hawaii. But realizing that his height would always hold him back in professional sports, Bridges returned to acting via a small role on his father's TV series Sea Hunt. He made his stage debut in 1966's Where's Daddy and continued appearing in leading film roles throughout the 1960s and '70s, easing into character leads. Bridges directed two feature films, The Wild Pair (1987) and Seven Hours to Judgment (1988), in addition to the TV special The Thanksgiving Promise, in which virtually the entire Bridges clan (including his mother Dorothy) was cast. Bridges received Emmy and the Golden Globe awards for his portrayal of the title character in the 1992 TV movie Without Warning: The James Brady Story (1991), and won awards for his participation in the gloriously-titled made-for-cable The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom (1993). He would continue to appear prominently both on the big and small screens over the coming decades, on shows like The Agency and Stargate: Atlantis and in films like The Good German and The Ballad of Jack and Rose.