Trivia: California-born Jeanette Nolan racked up an impressive list of radio and stage credits in the 1930s, including a stint with Orson Welles' Mercury Theatre troupe. She made her film debut in 1948 in Welles' MacBeth; her stylized, Scottish-burred interpretation of Lady MacBeth was almost universally panned by contemporary critics, but her performance holds up superbly when seen today. Afterwards, Ms. Nolan flourished as a character actress, her range extending from society doyennes to waterfront hags. She appeared in countless TV programs, and played the rambunctious title role on the short-lived Western Dirty Sally (1974). Nolan made her final film appearance playing Robert Redford's mother in The Horse Whisperer (1998). From 1937, Jeanette Nolan was married to actor John McIntire, with whom she frequently co-starred; she was also the mother of actor Tim McIntire.

Trivia: With her luxurious, sun-streaked, long mane of curly blond hair, voluptuous and beautiful Dyan Cannon is an actress who is hard to miss. She has been in films and occasionally on television since making her debut opposite Art Carney in The Ding-a-Ling Girl, a presentation on the television series Playhouse 90. Born Samille Diane Friesen in Tacoma, WA, Cannon got her start as a showroom model in L.A. following two years of study in anthropology at the University of Washington. Thanks to the help of writer/producer Jerry Wald, who came up with her stage name (which was originally Diane Cannon), she landed a contract at MGM and made her feature film debut playing Wiggles, a troubled high school student in This Rebel Breed (1960). She then appeared in The Rise and Fall of Legs Diamond (1960). After a couple appearances on Broadway and some work on television, Cannon met and fell in love with Cary Grant, who was 38 years her senior. While involved with him, she placed her acting career on hold. The two married in 1965 and she bore him a daughter. Three years later, Grant and Cannon went through a bitter public divorce. In 1969, Cannon returned to films in the then-controversial sex comedy Bob & Carol & Ted & Alice and won the Best Supporting Actress award from the New York Film Critics. Her role also won her an Oscar nomination. The 1970s were her most active period as an actress and Cannon appeared frequently in films. In 1978, she earned another Best Supporting Actress nomination for playing a conniving, adulterous wife in Heaven Can Wait. By the early '80s, Cannon sharply curtailed her feature-film career, but did appear in a few television movies and miniseries. In 1976, Cannon wrote, produced, directed, and even helped edit a 42-minute film sponsored by the American Film Institute. Titled Number One, Cannon designed it to teach children about sexuality and their bodies. It earned an Oscar nomination for best live-action short. Cannon has since directed two more films, including The End of Innocence, which is based on her autobiography. Cannon returned to acting on a limited basis in the 1990s and continued to appear on television in such outings as Arnold Schwarzenegger's Christmas in Connecticut (1992) and features such as Out to Sea (1997).Cannon would appear in several films and TV shows over the coming years, memorably appearing on shows like Ally McBeal and Three Sisters.

Trivia: American actor James Arness had an unremarkable Minneapolis childhood, but his wartime experiences shattered that normality - literally. During the battle of Anzio, Arness' right leg was peppered with machine gun bullets, and when the bones were set they didn't mend properly, leaving him with a slight but permanent limp. The trauma of the experience mellowed into aimlessness after the war. Arness became a "beach bum," lived out of his car, and worked intermittently as a salesman and carpenter. Acting was treated equally lackadaisically, but by 1947 Arness had managed to break into Hollywood on the basis of his rugged good looks and his 6'6" frame. Few of his screen roles were memorable, though one has become an object of cult worship: Arness was cast as the menacingly glowing space alien, described by one character as "an intellectual carrot," in The Thing (1951). For a time it looked as though Arness would continue to flounder in supporting roles, while his younger brother, actor Peter Graves, seemed destined for stardom. John Wayne took a liking to Arness when the latter was cast in Wayne's Big Jim McLain (1953). Wayne took it upon himself to line up work for Arness, becoming one of the withdrawn young actor's few friends. In 1955, Wayne was offered the role of Matt Dillon in the TV version of the popular radio series Gunsmoke. Wayne turned it down but recommended that Arness be cast and even went so far as to introduce him to the nation's viewers in a specially filmed prologue to the first Gunsmoke episode. Truth be told, Arness wasn't any keener than Wayne to be tied down to a weekly series, and as each season ended he'd make noises indicating he planned to leave. This game went on for each of the 20 seasons that Gunsmoke was on the air, the annual result being a bigger salary for Arness, more creative control over the program (it was being produced by his own company within a few years) and a sizeable chunk of the profits and residuals. When Gunsmoke finally left the air in 1975, Arness was the only one of the original four principals (including Amanda Blake, Milburn Stone and Dennis Weaver) still appearing on the series. Arness made plans to take it easy after his two-decade Gunsmoke hitch, but was lured back to the tube for a one-shot TV movie, The Macahans (1976). This evolved into the six-hour miniseries How the West Was Won (1977) which in turn led to a single-season weekly series in 1978. All these incarnations starred Arness, back in the saddle as Zeb Macahan. The actor tried to alter his sagebrush image in a 1981 modern-day cop series, McClain's Law -- which being set in the southwest permitted Arness to ride a horse or two. It appeared, however that James Arness would always be Matt Dillon in the hearts and minds of fans, thus Arness obliged his still-faithful public with three Gunsmoke TV movies, the last one (Gunsmoke: The Last Apache) released in 1992. In between these assignments, James Arness starred in a 1988 TV-movie remake of the 1948 western film classic Red River, in which he filled the role previously played by his friend and mentor John Wayne.

Trivia: It was while attending Colorado College that American actor/singer Ken Curtis discovered his talent for writing music. After an artistic apprenticeship on the staff of the NBC radio network's music department in the early '30s, Curtis was hired as male vocalist for the Tommy Dorsey Orchestra, then went on to work for bandleader Shep Fields. Preferring country-western to swing, Curtis joined the Sons of the Pioneers singing group in the 1940s, and in this capacity appeared in several western films. Columbia Pictures felt that Curtis had star potential, and gave the singer his own series of westerns in 1945, but Ken seemed better suited to supporting roles. He worked a lot for director John Ford in the '40s and '50s, as both singer and actor, before earning starring status again on the 1961 TV adventure series Ripcord. That was the last we saw of the handsome, clean-shaven Ken Curtis; the Ken Curtis that most western fans are familiar with is the scraggly rustic deputy Festus Haggen on the long-running TV Western Gunsmoke. Ken was hired to replace Dennis Weaver (who'd played deputy Chester Good) in 1964, and remained with Gunsmoke until the series ended its 20-year run in 1975. After that, Ken Curtis retired to his spread in Fresno, California, stepping back into the spotlight on occasion for guest appearances at western-movie conventions.

Trivia: James Stacy had passed the quarter-century mark before deciding upon an acting career. In 1956, Stacy's James Dean-ish handsomeness landed him a part in a Pepsi-Cola commercial. Afterward, Stacy put together a portfolio and started making the casting rounds. Unfortunately, his difficult attitude managed to get him fired from his first film role in South Pacific (1958), and had his lines taken away from him in Sayonara (1957). His recurring appearances as Fred on TV's The Adventures of Ozzie and Harriet started the ball rolling again, and by 1965 Stacy was Columbia Pictures' answer to Frankie Avalon, starring in such Beach Party rip-offs as A Swingin' Summer and Winter a Go Go. He also found time to marry actress Connie Stevens, only to lose her to singer Eddie Fisher. Stacy's second wife was Kim Darby. From 1968 through 1971, Stacy starred on the TV western Lancer. Two years after the series' cancellation, he was seriously injured in a motorcycle accident, which cost him his left arm and leg. Courageously refusing to retire, he began appearing in roles specially written to accommodate his handicap. His comeback film was the 1975 Kirk Douglas western Posse, in which he was cast in the nonambulatory role of newspaper editor Hellman. In 1977, he starred in the TV-movie Just a Little Inconvenience, playing a double-amputee Vietnam veteran. And in Disney's 1982 fantasy film Something Wicked This Way Comes, Stacy plays a crippled, embittered bartender, who makes the mistake of his life when he wishes to be "whole" again. His last regular TV role was Rogosheske in the weekly cop series Wiseguy. In 1996, once he was retired from acting, he served a six-year prison sentence after pleading no contest to the molestation of a minor (Stacy's erratic behavior around his arrest negated the hope of only getting probation for the incident). He was released in 2001 and resumed his life as a private citizen. Stacy died in 2016.

Trivia: Balding, long-necked character actor Frank Cady was a stage actor of long standing when he moved into films in 1947. He was usually cast as a quiet, unassuming small town professional man, most memorably as the long-suffering husband of the grief-stricken alcoholic Mrs. Daigle (Eileen Heckart) in The Bad Seed (1957). A busy television actor, he spent much of the 1950s on The Adventures of Ozzie and Harriet as Ozzie Nelson's neighbor Doc Willard. The "TV Generation" of the 1960s knows Cady best as philosophical storekeeper Sam Drucker on the bucolic sitcoms Petticoat Junction (1963-1970) and Green Acres (1965-1971). Whenever he wanted to briefly escape series television and recharge his theatrical batteries, Frank Cady appeared with the repertory company at the prestigious Mark Taper's Forum.

Trivia: Milburn Stone got his start in vaudeville as one-half of the song 'n' snappy patter team of Stone and Strain. He worked with several touring theatrical troupes before settling down in Hollywood in 1935, where he played everything from bits to full leads in the B-picture product ground out by such studios as Mascot and Monogram. One of his few appearances in an A-picture was his uncredited but memorable turn as Stephen A. Douglas in John Ford's Young Mr. Lincoln. During this period, he was also a regular in the low-budget but popular Tailspin Tommy series. He spent the 1940s at Universal in a vast array of character parts, at one point being cast in a leading role only because he physically matched the actor in the film's stock-footage scenes! Full stardom would elude Stone until 1955, when he was cast as the irascible Doc Adams in Gunsmoke. Milburn Stone went on to win an Emmy for this colorful characterization, retiring from the series in 1972 due to ill health.

Trivia: Character actor Howard McNear made a name for himself on network radio in a vast array of characterizations, from snivelling murderers to dapper French detectives. McNear's best-known radio role was as Doc on Gunsmoke, which ran from 1955 to 1962; his spin on the character was slightly more ghoulish than the interpretation offered by Milburn Stone on television. In films from 1954, the bespectacled, mustachioed McNear was usually cast as a querulous fussbudget. He was spotlighted as Dr. Dompierre in Otto Preminger's Anatomy of a Murder (1959), and was prominently featured in three Billy Wilder comedies, Irma La Douce (1963), Kiss Me Stupid (1964) and The Fortune Cookie (1966). He appeared with frequency on TV in the 1950s and 1960s, often as a foil to such comedians as Jack Benny and Burns and Allen. Howard McNear's most beloved TV characterization was as Mayberry barber Floyd Lawson on The Andy Griffith Show; when McNear suffered a debilitating stroke in 1967, Griffith kept him on the payroll, re-writing the scripts to allow "Floyd" to be seated and non-ambulatory without drawing undue attention to McNear's affliction.