Trivia: Whether he was called "The Voice," "Ol' Blue Eyes," or "The Chairman of the Board," Frank Sinatra's nicknames all conveyed the adulation and respect reserved for a man who was commonly thought of as the best American popular singer of the 20th century. Sinatra's voice, whether manifested in song or spoken word, caressed the ears of many a listener for more than five decades. Sinatra's legacy -- countless songs and more than 70 films -- continue to ensure him the kind of popularity that has reached beyond the grave to elevate him past the status of mere icon to that of cultural institution.Born Francis Albert Sinatra on December 12, 1915, Sinatra grew up poor in Hoboken, NJ. After working for a newspaper, he organized the Hoboken Four, a singing group. He got his first break when he won first prize on radio's "Major Bowes Amateur Hour," and went on to perform in nightclubs and on radio. Sinatra then landed the job of vocalist with the Harry James band, and later switched to Tommy Dorsey Orchestra. It was during his tenure with Dorsey's group that Sinatra made his first two films in uncredited roles as a singer in the bands in Las Vegas Nights (1941) and Ship Ahoy (1942). In 1942, Sinatra's attempt to become a solo artist met with great success, especially in the hearts, minds, and ears of many American women and girls, who flocked to his performances with a fervor that would be replicated two decades later with the arrival of the Beatles. Soon, Sinatra was the "dream-date" idol of millions of American girls and, for several years, was enormously popular on-stage in addition to other venues, including radio, records, and nightclubs. To complement his popularity as a singer, Sinatra began acting, playing in a number of light musical films throughout the '40s. His first real acting role came in Higher and Higher (1943); other notable movies from this period in his career included Take Me out to the Ballgame (1949), co-starring Gene Kelly and Esther Williams, and On the Town, also made in 1949 and co-starring Kelly, who co-directed the picture with Stanley Donen. Sinatra suffered a career setback in 1952 when his vocal cords hemorrhaged and he was dropped by MCA, the monolithic talent agency. Having established a shaky screen career, he fought back and landed the role of Angelo Maggio in From Here to Eternity (1953) after begging Columbia for the part and then agreeing to take it for a mere 8,000 dollars. His performance won him the 1954 Best Supporting Actor Oscar and a Golden Globe, and, in the process, resuscitated his faltering career. Sinatra appeared in several more movies in the '50s, receiving a 1956 Best Actor Oscar nomination and a British Academy Award (BAFTA) for his portrayal of a drug addict in The Man with the Golden Arm (1955). In addition, he took home a Golden Globe for his performance in Pal Joey (1957). Soon Sinatra was back on top as a performer, earning the nickname "The Chairman of the Board." Sinatra continued to do frequent film work, making a screen appearance with his Rat Pack colleagues Dean Martin, Sammy Davis Jr., Peter Lawford, and Joey Bishop in Ocean's Eleven (1960). Most notably, Sinatra gave a subtle, troubled portrayal of the haunted Captain Bennett Marco in John Frankenheimer's Cold War classic The Manchurian Candidate. His last role was as an aging detective in The First Deadly Sin (1980). Sinatra also appeared on various television shows during the '80s and went on to have hit records as late as the early '90s. His four wives included actresses Ava Gardner and Mia Farrow, and he fathered actor/singers Frank Sinatra Jr. and Nancy Sinatra, as well as another daughter, Tina. Sinatra died of a heart attack on May 14, 1998, in Los Angeles. He is buried in Palm Springs, CA.

Trivia: Ohioan Eleanor Parker chose a career in acting when she was still in her teens and began appearing in professional stage productions in Cleveland and at California's Pasadena Playhouse. Signed at Warner Bros. in 1941, the red-haired actress was given the slow buildup in such B's as The Mysterious Doctor before graduating to leads in prestige pictures like Pride of the Marines (1945). As the sluttish Mildred in the 1946 remake Of Human Bondage, Parker was not nearly as effective as Bette Davis in the 1934 version, but she learned from this comparative failure and matured into a versatile actress, equally adept at comedy and heavy dramatics. She was Oscar nominated for Caged (1950), in which she plays an utterly deglamorized prison inmate; Detective Story (1951), wherein, as Kirk Douglas' wife, she agonizingly harbors the secret of a past abortion; and Interrupted Melody (1955), in which she portrays polio-stricken opera diva Marjorie Lawrence. Though she tended toward down-to-earth portrayals, Eleanor could be flamboyantly sexy if required, like her performance as a tempestuous lover in Scaramouche. Still regally beautiful into the 1960s and 1970s, Eleanor Parker was always worth watching no matter if the role was thankless (the Countess in Sound of Music [1965]) or "Baby Jane"-style horrific (the terrorized, elderly cripple in Eye of the Cat [1969]). Parker spent the majority of her career in the 1970s and '80s in TV movies and the occasional guest appearance on television series like Hawaii Five-O and The Love Boat before retiring from acting in 1991. She died in 2013 at age 91.

Trivia: Kim Novak was among Hollywood's most enigmatic sex symbols of the '50s and early '60s. Blonde and beautiful, she exuded a daunting intellectual chilliness and an underlying passionate heat that made her especially alluring. One of the last of the studio-made stars, she rebelled against her "manufactured" image, struggling to be seen as more than just another brainless glamour gal. Novak brought to many of her roles a certain melancholic reluctance about freeing up her character's sensuality. It seemed as if her beauty was a burden, not an asset. She was born Marilyn Pauline Novak and raised in Chicago, the daughter of a Czech railroad man. Before she was discovered in Los Angeles by Columbia Pictures helmer Harry Cohn (who chose her as a replacement for his increasingly difficult and rebellious reigning screen goddess Rita Hayworth), Novak worked odd jobs that included sales clerk, elevator operator, and a spokesmodel for a refrigerator company. Cohn signed her to his studio around 1954. While being properly prepared for stardom, Novak engaged in the first of many battles with Cohn when she refused to allow the studio to bill her as "Kit Marlowe." She felt the name rang false and battled to keep her family name, and then compromised by allowing herself to be called Kim because in her mind, Kit was too close to "kitten," as in the sexy kind. In her later years, Novak would acknowledge the studio head's role in her stardom, but also took plenty of credit for her own hard work.Though Novak had already made her screen debut with a tiny role in The French Line (1954), her first starring role for Columbia was playing opposite Fred MacMurray in Pushover (1954). At first, she appeared uncomfortable with acting before cameras, but she soon relaxed and the following year had her first big break in Picnic (1955). The film was a hit and Novak found herself the hottest sex symbol in town, a title she wore with discomfort. Unlike other similar stars, Novak was pragmatic and did not lose herself in the glamour of the studio's carefully manufactured blonde bombshell image of her. Despite her dislike of such publicity chores as providing "cheesecake" shots for the press, and going out on studio arranged "dates" to keep her name in print, she was a trooper and toed the company line; some of her alleged lovers from this period include Frank Sinatra, Cary Grant, and Aly Khan.Through the '50s, Novak appeared in a broad range of films of widely varying quality. In 1958, Novak appeared in her most famous role, that of enigmatic Madeleine in Alfred Hitchcock's masterpiece Vertigo. It was a difficult role, but one she rose to admirably. She did have one conflict with Hitchcock on the set concerning the stiff gray suit and black shoes she would be required to wear for most of the picture. When she saw costume designer Edith Head's original plans for the suit, Novak, fearing the suit would be distracting and uncomfortable and believing that gray is seldom a blonde's best color, voiced her concerns directly to Hitchcock who listened patiently and then insisted she wear the prescribed garb. Novak obeyed and to her surprise discovered that the starchy outfit enhanced rather than hindered her ability to play Madeleine. Novak's career continued in high gear through 1965. After appearing in The Amorous Adventures of Moll Flanders (1965) and marrying her second husband, her film appearances became less frequent. After the loss of her Bel Air home to erosion following a bad fire season in the 1970s, Novak retired and moved to Northern California. There, she and her husband, Dr. Robert Malloy, a veterinarian, raised llamas. She continued to appear on television and in feature films, but only when she wanted to. At home on the ranch she spoke of her screen persona "Kim Novak" as if she were a totally different person. In 1997, she dusted off the old persona to go on an extensive promotional tour to alert the public to the fully restored version of Vertigo. When not busy in Hollywood, Novak continues working on her autobiography.

Trivia: Darren McGavin dropped out of college after one year and moved to New York, where he trained for the stage at the Neighborhood Playhouse and the Actors Studio. In the mid '40s he began landing small roles in occasional films, but worked primarily onstage. He first made an impression onscreen as a painter in David Lean's Summertime and a drug pusher in Otto Preminger's The Man with the Golden Arm (both 1955); nevertheless, his subsequent film work tended to occur in intermittent spurts, with long periods off-screen between roles. He is best known as a TV actor; he starred in the TV series Crime Photographer, Mike Hammer, Riverboat, The Outsider, and Kolchak: The Night Stalker, and also appeared in a number of TV movies. He occasionally directed episodes of his TV shows, and directed and produced the film Happy Mother's Day, Love George (1973), whose title was later changed to Run, Stranger, Run.

Trivia: American actor Arnold Stang was a professional almost all his life -- but unlike other "professional kids," he actively sought a career and wasn't strong-armed into it by ambitious parents. Winning an audition at age nine on radio's Horn and Hardart's Children's Hour, Stang launched a two-decade stint as one of radio's most stalwart supporting players. He appeared as a regular on Let's Pretend, and later was generously featured on Gertrude Berg's serialized family drama The Goldbergs. As his skills increased, Stang discovered he could get laughs, and worked steadily with such comedians as Eddie Cantor, Jack Benny, and especially Milton Berle, with whom Stang continued his association on television. On the satirical Henry Morgan Show, Stang was a regular member of the comedy stock company, most often as a nerdy teenager named Gerard. Stang started doing cartoon voiceovers in the '40s, beginning with Popeye the Sailor's pal Shorty, then moving into a lengthy hitch as "Hoiman" the mouse in Paramount's Herman and Katnip series; he also performed in 24 episodes of Hanna-Barbera's 1961 cartoon series Top Cat, playing the title role in a "Phil Silvers" manner until the sponsors demanded less of Silvers and more of Stang. In films since 1942's My Sister Eileen, Stang had his best movie role in Man with the Golden Arm (1955) where he played Frank Sinatra's skuzzy but loyal pal Sparrow - a characterization eerily reminiscent of Dustin Hoffman's Ratso Rizzo in the much-later film Midnight Cowboy (1969). During the '50s, Stang was the TV spokesman for Chunky candy, fondly remembered by today's baby boomers for his enthusiastic "Chunky...what a chunk o' chocolate!" Still active in the '90s, the owlish, bespectacled Arnold Stang delighted his long-time fans with an amusing character role in the John Hughes film Dennis the Menace (1993). Stang died at age 91 in December 2009.

Trivia: Beefy, bulldog-visaged actor Robert Strauss was the son of a theatrical costume designer. Strauss tried his hand at a number of odd jobs before he, too, answered the call of the theater. His best-known Broadway role was the dimwitted, Betty Grable-loving Animal in Stalag 17, a role that he recreated for the 1953 film version, and was Oscar nominated for his efforts. Though he'd been seen onscreen as early as 1942, Strauss' film career didn't really take off until he garnered positive notices for Animal. He spent most of the 1950s at Paramount, working with everyone from William Holden to Jerry Lewis. In 1971, after several distinguished years in the business, Robert Strauss found himself the object of showbiz-column scrutiny when he agreed to co-star in the Danish "soft core" sex farce Dagmar's Hot Pants.

Trivia: Orphaned as a child, Kansan Doro Merande grew up in boarding schools. She was in her early twenties when she impulsively decided to become a New York actress. Her skinny frame and wavering voice making her ideal for rural character roles, Doro went on to appear in 25 Broadway plays, most famously as the old lady who "loved weddings" in the original 1938 production of Our Town. This was the part that brought her to Hollywood in 1940. Though she preferred to remain in New York, Doro was seen in dozens of Hollywood-based TV and movie character roles, including the loudmouthed housekeeper in The Gazebo (1959) and the strident "victim" of Soviet "invaders" in The Russians Are Coming, the Russians Are Coming (1966). In 1960, Doro was one of the stars of the TV sitcom Bringing up Buddy; reportedly, all chances for this series' success were sabotaged by the fact that Ms. Merande and her co-star, silent film veteran Enid Markey, openly despised one another. In her last professional years, Doro Merande was a frequent guest star of The Jackie Gleason Show.

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.

Trivia: With his jazzy score and arrangements for The Wild One, Shorty Rogers played an instrumental role in bringing jazz music to film and television scores. A native of Great Barrington, MA, Rogers launched his career at age 16 as a trumpet player for Will Bradley's band and then that of vibraphone player Red Norvo in the early '40s. Rogers was among the first jazz artists to use the flügelhorn. In the '50s, Rogers, like fellow artists Dave Brubeck, moved to Los Angeles to perfect the new West Coast sound. In addition to playing music, Rogers proved to be a talented composer and arranger whose music was played by such jazz greats as Woody Herman, Stan Kenton, and Charlie Barnett. Following his success with the classic Brando film, Rogers spent most of his time writing scores.

Trivia: Forced to flee his native St. Petersburg after the Bolshevik revolution, Russian-born actor Leonid Kinskey arrived in New York in 1921. At that time, he was a member of the Firebird Players, a South American troupe whose act consisted of dance-interpreting famous paintings; since there was little call for this on Broadway, Kinskey was soon pounding the pavements. The only English words he knew were such translation-book phrases as "My good kind sir," but Kinskey was able to improve his vocabulary by working as a waiter in a restaurant. Heading west for performing opportunities following the 1929 Wall Street Crash, Kinskey joined the road tour of the Al Jolson musical Wonder Bar, which led to a role in his first film Trouble in Paradise (1932). His Slavic dialect and lean-and-hungry look making him ideal for anarchist, artist, poet and impresario roles, Kinskey made memorable appearances in such films as Duck Soup (1933), Nothing Sacred (1937) and On Your Toes (1939). His best known appearance was as Sacha, the excitable bartender at Rick's Cafe Americain in Casablanca (1942). The film's star, Humphrey Bogart, was a drinking buddy of Kinskey's, and when the first actor cast as the barkeep proved inadequate, Bogart arranged for Kinskey to be cast in the role. During the Red Scare of the '50s, Kinskey was frequently cast as a Communist spy, either comic or villainous. In 1956 he had a recurring role as a starving artist named Pierre on the Jackie Cooper sitcom The People's Choice. Kinskey cut down on acting in the '60s and '70s, preferring to write and produce, and help Hollywood distribution companies determine which Russian films were worth importing. But whenever a television script (such as the 1965 "tribute" to Stan Laurel) called for a "crazy Russian", Leonid Kinsky was usually filled the bill.

Trivia: A stage actor from 1938, American-born Frank Richards made his earliest recorded-film appearance in 1940. Generally cast as stubble-chinned heavies and slick gangsters, he also served as an "art director" for the 1946 Western Rustler's Roundup. More notable among his 200 or so on-camera television credits was his bad-guy role on the 1951 Superman episode "A Night of Terror." Richards' last film was John Cassavetes' A Woman Under the Influence in 1974. He died in 1992.

Trivia: Former radio actress Martha Wentworth played the Duchess, Allan Lane's robust-looking aunt, in seven of Republic Pictures' popular Red Ryder Westerns from 1946-1947. The original Duchess, Alice Fleming, had left the series along with William Elliott, who was being groomed for Grade-A Westerns. As the new Duchess, Wentworth joined Lane, Elliott's replacement, and little Bobby Blake (later Robert Blake), the former Our Gang star, who played Indian sidekick Little Beaver in all the Republic Red Ryder films. For a great majority of the series' fans, the Lane-Wentworth-Blake combination turned out the quintessential Red Ryder films, the trio becoming one of the most successful combinations in B-Western history. Republic sold the Red Ryder franchise to low-budget Eagle-Lion in 1948 and four additional films were produced, but Wentworth was replaced with former silent-action heroine Marin Sais. In her later years, Wentworth did quite a bit of voice-over work for Walt Disney.

Trivia: Wizened character actor Paul E. Burns tended to play mousey professional men in contemporary films and unshaven layabouts in period pictures. Bob Hope fans will recall Burns' con brio portrayal of boozy desert rat Ebeneezer Hawkins in Hope's Son of Paleface (1952), perhaps his best screen role. The general run of Burns' screen assignments can be summed up by two roles at both ends of his career spectrum: he played "Loafer" in D.W. Griffith's Abraham Lincoln (1930) and "Bum in Park" in Barefoot in the Park (1967).

Trivia: San Franciscan Will Wright was a newspaper reporter before he hit the vaudeville, legitimate stage, and radio circuit. With his crabapple face and sour-lemon voice, Wright was almost instantly typecast as a grouch, busybody, or small-town Scrooge. Most of his film roles were minor, but Wright rose to the occasion whenever given such meaty parts as the taciturn apartment house manager in The Blue Dahlia (1946). In one of his best assignments, Wright remained unseen: He was the voice of the remonstrative Owl in the Disney cartoon feature Bambi (1942). Will Wright didn't really need the money from his long movie and TV career: His main source of income was his successful Los Angeles ice cream emporium, which was as popular with the movie people as with civilians, and which frequently provided temporary employment for many a young aspiring actor.

Trivia: American character actor Frank Marlowe left the stage for the screen in 1934. For the next 25 years, Marlowe showed up in countless bits and minor roles, often in the films of 20th Century-Fox. He played such peripheral roles as gas station attendants, cabdrivers, reporters, photographers, servicemen and murder victims (for some reason, he made a great corpse). As anonymous as ever, Frank Marlowe made his final appearance as a barfly in 1957's Rockabilly Baby.

Trivia: Mike Lally started in Hollywood as an assistant director in the early 1930s. Soon, however, Lally was steadily employed as a stunt man, doubling for such Warner Bros. stars as James Cagney and Pat O'Brien. He also played innumerable bit roles as reporters, court stenographers, cops and hangers-on. Active until 1982, Mike Lally was frequently seen in functionary roles on TV's Columbo.

Trivia: Gordon Mitchell was one of that group of body builders-turned-actors who achieved cinematic fame during the 1960s, specializing in European sword-and-sandal films. Born Charles Allen Pendleton in Denver, CO, he was raised in Inglewood, CA, in the wake of his parents' divorce. He developed an interest in body building as a boy in Denver, having to contend with bigger, tougher kids, and found that many people in his part of California, even in the 1930s, shared this enthusiasm. After serving in the military during World War II (with another stint in uniform for the Korean War), he returned to California in 1945 and became part of the physical culture scene at Muscle Beach. His physique brought him into the periphery of the acting profession, with a bit roles in movies like The Man With the Golden Arm (1955), The Ten Commandments (1956), and Li'l Abner (1959), and as part of Mae West's stage act during the 1950s. In December 1960, in the wake of Steve Reeves' international success in Hercules and Hercules Unchained (both 1959), Pendleton was signed to star in an Italian-made sword-and-sandal epic called Atlas Against the Cyclop (1963). Renamed Gordon Mitchell, he flew to Italy and shot the film, which was in theaters in April 1961 and became a hit. His next movie, The Giant of Metropolis (1961), is one of the best-remembered films in the sword-and-sandal genre for its unusual mix of science fiction elements in a setting in the ancient world, and it was also hugely popular. Gordon Mitchell thus began an acting career that kept him in starring roles in Italy throughout the 1960s and beyond. After Brennus, Enemy of Rome (1960, also known as Battle of the Valiant), Vulcan, God of Fire (1961), Fury of Achilles (1962) , Caesar Against the Pirates (1962), and Revenge of the Gladiators (1962), he moved into Westerns, including Three Bullets for Ringo (1965), and spy movies (2+5: Mission Hydra [1965]). Mitchell also worked in one Hollywood production, John Huston's Reflections in a Golden Eye (1967), starring Marlon Brando and Elizabeth Taylor, as well as in Federico Fellini's Satyricon (1969). Mitchell kept busy in roles of various sizes throughout the 1970s in movies as different as Dr. Frankenstein's Castle of Freaks (1973), Frankenstein '80 (1979), and Emmanuelle's Daughter (1979). He was somewhat less active in the 1980s, but appeared in films such as She (1984), starring Sandahl Bergman, Commando Invasion (1987), Blood Delerium (1989, with John Phillip Law), and Private Resort (1985, which he also co-wrote), playing character roles of varying sizes. Outside of movies, Mitchell also turned to painting as a profession, enjoying some respectable exposure at gallery shows in California, New York, and in Europe, and maintaining a fandom that included Arnold Schwarzenegger. Mitchell's more recent screen credits have included 1987's The Alien Within, in which he worked with his 1960s body builder/actor colleague Richard Harrison, and Bikini Drive-In (1994), with Edward D. Wood Jr. alumnus Conrad Brooks. In 2002, he was reportedly preparing a book and a script dealing with the physical culture scene at Muscle Beach in the 1940s and '50s, and his experiences working with Mae West. He also participated in an interview and supplement for the DVD release of The Giant of Metropolis. In late September of 2003, Mitchell died of natural causes in Marina Del Ray, CA, at age 80.

Trivia: Born John Mulhall, he sang with a traveling show as a boy and later toured in stock and vaudeville. He moved to New York to study art, and while there appeared in several silent films. In 1914 he moved to Los Angeles and soon became a leading man in films, starring in numerous productions opposite major actresses; for a time he earned $3000 a week, but lost his considerable fortune in the first year of the Great Depression. In the early sound era he continued to play leads for a time, mostly in routine films and serials; in the mid '30s he moved into supporting roles, and continued a fairly steady screen career through the mid '40s, after which he appeared in only a few more films.

Trivia: American actor Emile G. Meyer had the squat, sinister features that consigned him nearly exclusively to western villains. Still, he was a good enough actor to transcend the stereotype, and audiences often found themselves understanding if not approving of his perfidy. The Meyer performance that most quickly comes to mind is in the movie Shane (1953), in which he played Ryker, the wealthy landowner who hires gunman Jack Palance to force the homesteaders off his turf. At first glance a two-dimensional baddie, Meyer delivers a heartfelt speech in which he bemoans the fact that pioneers like himself had to fight and die for their land, only to watch as outsiders rode in to stake claims on territory they hadn't truly earned. By the time Meyer is finished, half the audience is inclined towards his side, villain or no! In addition to his acting work, Emile G. Meyer also wrote TV and movie scripts. On that subject, Meyer was given to complaining in public as to how the old-boy network of Hollywood producers tended to freeze out any writer without a long list of screenplay credits -- and he complained as eloquently and persuasively as he had as Ryker in Shane (1953).