Trivia: It is hardly necessary to enumerate the accomplishments, patriotic services, charitable donations, awards, medals, and honorariums pertaining to Bob Hope, a man for whom the word "legend" seems somehow inadequate. Never mind that he was born in England; the entertainer unquestionably became an American institution.Hope's father was a stonemason and his mother a one-time concert singer; when he was two, his parents moved him and his brothers to Cleveland, where relatives awaited. Since everyone in the Hope clan was expected to contribute to the family's income, he took on several part-time jobs early in life. One of these was as a concessionaire at Cleveland's Luna Park, where Hope had his first taste of show business by winning a Charlie Chaplin imitation contest. (He later claimed he'd gotten his brothers to strong-arm all the neighborhood kids to vote for him). At 16, Hope entered the work force full-time as a shoe salesman for a department store, then as a stock boy for an auto company. At night, he and a friend picked up spare change singing at local restaurants and saloons, and, for a brief time, he was an amateur boxer, calling himself "Packy East." Picking up dancing tips from older vaudevillians, Hope decided to devote himself to a show business career, first in partnership with his girlfriend Mildred Rosequist, then with a pal named Lloyd Durbin. Comedian Fatty Arbuckle, headlining a touring revue, caught Hope and Durbin's comedy/dancing act and helped the boys get better bookings. Following the accidental death of Durbin, Hope found another partner, George Byrne, with whom he developed a blackface act. After several career reversals, Hope and Byrne were about to pack it in when they were hired to emcee Marshall Walker's Whiz Bang review in New Castle, PA. As the more loquacious member of the team, Hope went out on-stage as a single and got excellent response for his seemingly ad-libbed wisecracks. It was in this and subsequent vaudeville appearances that Hope learned how to handle tough audiences by having the guts to wait on-stage until everyone in the crowd had gotten his jokes; he was still using this technique seven decades later. Dropping his blackface makeup and cannibalizing every college humor magazine he could get his hands on, Hope took on yet another partner (Louise Troxell) in 1928 and started getting choice vaudeville bookings on the Keith Circuit. A year later, he was given a movie screen test, but was told his ski-slope nose didn't photograph well. With material from legendary gagster Al Boasberg, Hope appeared as a single in The Antics of 1931, which led to a better theatrical gig with Ballyhoo of 1932, in which he was encouraged to ad-lib to his heart's content. He then went back to vaudeville and squeezed in his first radio appearance in 1933 before being hired as the comedy second lead in an important Jerome Kern Broadway musical, Roberta. During the long run of this hit, Hope met and married nightclub singer Dolores Reade, who became still another of his on-stage partners when the play closed and Hope yet again returned to vaudeville. He scored a major success in Ziegfeld Follies of 1936, which spotlighted his talent for sketch comedy, and then co-starred with Ethel Merman and Jimmy Durante in Red, Hot and Blue. In 1937, he was brought to Hollywood for Paramount's The Big Broadcast of 1938, in which he duetted with Shirley Ross in the Oscar-winning song "Thanks for the Memory," which became his signature theme from then on. Hope's first few years at Paramount found him appearing in relatively sedate comedy leads, but with The Cat and the Canary (1939) he solidified his screen persona as the would-be great lover and "brave coward" who hides his insecurities with constant wisecracking. In 1940, Hope was teamed with Bing Crosby and Dorothy Lamour for Road to Singapore, the first of the still-uproarious "Road" series that featured everything from in-jokes about Bob and Bing's private lives to talking camels. While continuing to make money at the box office, Hope was also starring in his long running NBC radio program, which was distinguished by its sharp topical humor and censor-baiting risqué material. But it was not so much his show business earnings as his profitable real estate deals and holdings that formed the basis of Hope's immense personal fortune. In the midst of all his media clowning during World War II, Hope worked tirelessly as a U.S.O. entertainer for troops in the U.S. and abroad -- so much so that he was unable to make any films at all in 1944. In 1950, Hope inaugurated a long-term television contract with NBC, which resulted in more than 40 years worth of periodic specials that never failed to sweep the ratings. He also later hosted (and occasionally starred in) an Emmy-winning '60s anthology series, Bob Hope Presents The Chrysler Theatre. With his film box-office receipts flagging in the early '50s (audiences didn't quite buy the idea of a 50-year-old man playing a 30-ish girl chaser), Hope took the advice of writer/directors Norman Panama and Melvin Frank and attempted a dramatic film role as Eddie Foy Sr. in The Seven Little Foys (1955). He succeeded in both pulling off the character and in packing a relatively maudlin script with humanity and humor. Hope's last "straight" film part was as New York City Mayor Jimmy Walker in Beau James (1957), in which he again acquitted himself quite nicely. Having long taken a percentage of profits on his Paramount releases, Hope became his own producer in 1957, which at first resulted in such fine pictures as Alias Jesse James (1959) and The Facts of Life (1960, with frequent co-star Lucille Ball). But the quality of Hope's films took a depressing downward spiral in the '60s, and even hard-core Hope fans were hard-pressed to suffer though such dogs as Boy, Did I Get a Wrong Number! (1966) and The Private Navy of Sgt. O'Farrell (1968). It has been theorized that Hope was too wealthy and much too busy with a multitude of other projects to care about the sorry state of his films. Besides, even the worst of the Hope pictures posted a profit, which to him evidently meant more than whether or not the films were any good. His last feature film appearance was a 1985 cameo in Spies Like Us, a spoof of the road pictures he made with Crosby. In 1991, he again traveled overseas to entertain U.S. troops -- this time in Saudi Arabia during the first Gulf War. Though Hope's only onscreen appearances through the remainder of the decade would prove archival in origin, generations of fans would later show their appreciation for his enduring career in the 2003 television special 100 Years of Hope and Humor. Hope proved too frail to attend the celebration in person, though his friends and family assured the public that the star was indeed overwhelmed at the outpouring of public affection.On Sunday, July 27, 2003, the world lost one of its most beloved comic talents when Bob Hope died of pneumonia in Taluca Lake, CA. He was 100.

Trivia: European ballerina and actress Vera Zorina, born Eva Brigitta Hartwig to Norwegian parents in Berlin, appeared in a few Hollywood musicals from the late '30s through the early '40s. She learned to dance as a small child and by age seven was already a professional. In 1929, Zorina appeared in Max Reinhardt's A Midsummer Night's Dream as the lead elf, a role that earned her favorable reviews. After joining the Ballet Russe in 1933, Zorina began touring England and the U.S. While she was appearing in the London version of the popular musical On Your Toes, movie mogul Sam Goldwyn saw her and signed her to star in 1938's Goldwyn Follies. Later that year she also made her Broadway debut in I Married an Angel. For the frosting on that year's cake, she married the great choreographer George Balanchine. The union lasted through 1946 and after divorcing Balanchine, she married Columbia Records president Goddard Lieberson. Though Zorina was a wonderful dancer, her acting skills were lacking and by the end of the '40s, she had left films in favor of infrequent stage appearances and to narrating modern classical music pieces during concerts. Following experience directing opera in Santa Fe, NM, during the '70s, Zorina became the managing director of the Norwegian Opera. In 1978, she became a music consultant and record producer for Columbia.

Trivia: The illustrious stage career of character comedian Victor Moore began when he was hired as a supernumerary in 1893. He rose to prominence in the first decade of the 20th century as the lead comic in several vaudeville and musical shows. Moore made his film debut in 1915, starring in three films that year, two of which (Chimmie Fadden and Chimmie Fadden Out West) were directed by up-and-coming Cecil B. DeMille. During the 1920s, Moore perfected his standard stage characterization of a short, chubby, balding milquetoast who responded to every question with a soft, tremulous whine. His best-known stage role was that of nebbishy Vice President Alexander Throttlebottom in the Pulitzer Prize-winning 1931 musical Of Thee I Sing. Most of Moore's film assignments were in this same bumbling vein, with the notable exception of his superb, heartrending straight portrayal of an elderly "cast-off" in Leo McCarey's Make Way for Tomorrow (1937). His last movie appearance was a cameo as a double-taking plumber in Billy Wilder's The Seven Year Itch (1955). Victor Moore's oddest film appearance was as an animated cartoon character in the 1945 Daffy Duck "vehicle" Ain't That Ducky; Moore was delighted with the caricature and offered to supply his own voice free of charge, provided that the animators drew him with just a little more hair.

Trivia: A vaudeville and musical headliner from Corsica, Irene Bordoni was one of the first Broadway stars to heed the call of the newly vocalized Hollywood. Usually described as "piquant," Bordoni's rolling eyes, pursed lips, comedic hauteur, and voluminous gowns were rather too flamboyant for the screen, however, and despite a couple of Cole Porter numbers, neither she nor her British leading man, the brittle Jack Buchanan, found favor with the movie-going audience. Paris (1929), her highly anticipated screen debut, made money for its backers, First National, but not enough and Bordoni returned to wow them once again on Broadway. She was back in Hollywood playing herself in Just a Gigolo (1932) and was still rolling those big orbs of hers as the notorious restaurateur Madame Bordelaise in the Bob Hope comedy Louisiana Purchase (1941), which she had also performed on Broadway. It was her final screen performance. Irene Bordoni was one stage luminary whose considerable charms failed to translate to the screen.

Trivia: Vivacious, volatile Mexico-born singer/actress Dona Drake first gained fame as a band singer; using the name Rita Rio. She was featured in several musical short subjects, and offered a delightful rendition of "The Gypsy from Poughkeepsie" in the 1941 Columbia two-reeler Fresh as a Freshman. Signed by Paramount in 1941, she changed her professional name to Dona Drake. Her most famous role during her Paramount stay was as Bob Hope's vis-a-vis in The Road to Morocco (1942). During her waning days in films, Dona Drake was a Columbia contractee, playing secondary roles in such films as Valentino (1952) and Kansas City Confidential (1954).

Trivia: Born in Indiana, Raymond Walburn began his theatrical career in Oakland, California, where his actress mother had relocated. Walburn was 18 when he made his stage debut in MacBeth, for the princely sum of $5 a week; he immediately, albeit inadvertently, established himself as a comic actor when his line "Fillet of a fenny snake" came out as "Fillet of a funny snake." The following year, Walburn was acting in stock in San Francisco, where the old adage "the show must go on" was tested to the utmost when one of his performances was interrupted by the 1906 earthquake (at least, that was his story). In 1911, he made his Broadway bow in Greyhound; it was a flop, as were Walburn's subsequent New York appearances over the next five years. He finally managed to latch onto a hit when he was cast in the long-running Come Out of the Kitchen. Following his World War I service, Walburn hit his stride as a Broadway laughgetter, starring in the original production of George Kelly's The Show Off. After a tentative stab at moviemaking in 1928, Walburn settled in Hollywood full-time in 1934, where his bombastic, lovable-fraud characterizations made him a favorite of such directors as Frank Capra and Preston Sturges. Usually relegated to the supporting-cast ranks, Walburn was given an opportunity to star in Monogram's inexpensive "Henry" series in 1949, an assignment made doubly pleasurable because it gave him the opportunity to work with his lifelong pal Walter Catlett. Retiring after his final screen appearance in The Spoilers (1955), Raymond Walburn revived his Broadway career in 1962 when he was persuaded by producer Harold Prince to play Erronious in A Funny Thing Happened On the Way to the Forum.

Trivia: Some actors can convey wide-eyed confusion, others are adept at business-like pomposity; Frank Albertson was a master of both acting styles, albeit at the extreme ends of his film career. Entering movies as a prop boy in 1922, Albertson played bit roles in several late silents, moving up the ladder to lead player with the 1929 John Ford talkie Salute. The boyish, open-faced Albertson was prominently cast in a number of Fox productions in the early 1930s, notably A Connecticut Yankee in King Arthur's Court (1931) and Just Imagine (1931). By the mid-1930s he had settled into such supporting roles as Katharine Hepburn's insensitive brother in Alice Adams (1935) and the green-as-grass playwright who falls into the clutches of the Marx Brothers in Room Service (1938). His best showing in the 1940s was as the wealthy hometown lad who loses Donna Reed to Jimmy Stewart in It's a Wonderful Life (1946). By the 1950s, a graying, mustachioed Albertson was playing aging corporate types. Frank Albertson's more memorable roles in the twilight of his career included the obnoxious millionaire whose bank deposit is pilfered by Janet Leigh in Hitchcock's Psycho (1960) and his uncredited turn as the flustered mayor of Sweetapple in Bye Bye Birdie (1963).

Trivia: Vaudeville, stock and Broadway actor Donald MacBride made his Hollywood debut in the 1938 Marx Brothers farce Room Service, reprising his stage role as explosive hotel manager Wagner ("Jumping Butterballs!!!") His previous film appearances had been lensed in his native New York, first at the Vitagraph studios in Flatbush, where he showed up in the Mr. and Mrs. Sidney Drew comedies of the 1910s. During the early talkie years, MacBride showed up in several one- and two-reelers, providing support to such Manhattan-based talent as Burns & Allen, Bob Hope and Shemp Howard. After Room Service, the bulldog-visaged MacBride was prominently cast in picture after picture, usually as a flustered detective. He was teamed with Alan Mowbray in a brace of 1940 RKO "B"s about a pair of shoestring theatrical producers, and was featured in four of Abbott and Costello's comedies. Among the actor's rare noncomic roles were the dying gangster boss in High Sierra (1941) and the dour insurance executive in The Killers (1946). MacBride's television work includes a season as dizzy Marie Wilson's long-suffering employer on the early-1950s TV sitcom My Friend Irma. Donald MacBride's last film role was as Tom Ewell's backslapping boss in the 1955 Billy Wilder comedy The Seven-Year Itch.

Trivia: Excelling in baseball while at Phillips-Exeter academy, American comic actor Andrew Tombes determined he'd make a better living as an actor than as a ballplayer. By the time he became a headliner in the Ziegfeld Follies, Tombes had performed in everything from Shakespeare to musical comedy. He received star billing in five editions of the Follies in the '20s, during which time he befriended fellow Ziegfeldite Will Rogers. It was Rogers who invited Tombes to Hollywood for the 1935 Fox production Doubting Thomas. An endearingly nutty farceur in his stage roles, Tombes' screen persona was that of an eternally befuddled, easily aggravated business executive. The baldheaded, popeyed actor remained at Fox for several years after Doubting Thomas, playing an overabundance of police commissioners, movie executives, college deans, and Broadway "angels." Tombes' problem was that he arrived in talkies too late in the game: most of the larger roles in which he specialized usually went to such long-established character men as Walter Catlett and Berton Churchill, obliging Tombes to settle for parts of diminishing importance in the '40s. Most of his later screen appearances were unbilled, even such sizeable assignments as the would-be musical backer in Olsen and Johnson's Hellzapoppin' (1941) and the royal undertaker's assistant in Hope and Crosby's Road to Morocco (1942). Still, Tombes was given ample opportunity to shine, especially as the secretive, suicidal bartender in the 1944 "film noir" Phantom Lady. Andrew Tombes last picture was How to Be Very Very Popular (1955), which starred a colleague from his busier days at 20th Century-Fox, Betty Grable.

Trivia: As a boy growing up in Sacramento, Robert Warwick sang in his church choir. Encouraged to pursue music as a vocation, Warwick studied in Paris for an operatic career. He abandoned singing for straight acting when, in 1903, he was hired by Clyde Fitch as an understudy in the Broadway play Glad of It. Within a few year, Warwick was a major stage star in New York. He managed to retain his matinee-idol status when he switched from stage to screen, starring in such films as A Modern Othello and Alias Jimmy Valentine and at one point heading his own production company. He returned to the stage in 1920, then resumed his Hollywood career in authoritative supporting roles. His pear-shaped tones ideally suited for talkies, Warwick played such characters as Neptune in Night Life of the Gods (1933), Sir Francis Knolly in Mary of Scotland (1936) and Lord Montague in Romeo and Juliet (1936). He appeared in many of the Errol Flynn "historicals" at Warner Bros. (Prince and the Pauper, Adventures of Robin Hood, The Private Lives of Elizabeth and Essex); in more contemporary fare, he could usually be found in a military uniform or wing-collared tuxedo. From The Great McGinty (1940) onward, Warwick was a particular favorite of producer/director Preston Sturges, who was fond of providing plum acting opportunities to veteran character actors. Warwick's best performance under Sturges' guidance was as the brusque Hollywood executive who insists upon injecting "a little sex" in all of his studio's product in Sullivan's Travels (1942). During the 1950s, Warwick played several variations on "Charles Waterman," the broken-down Shakespearean ham that he'd portrayed in In a Lonely Place (1950). He remained in harness until his eighties, playing key roles on such TV series as The Twilight Zone and The Law and Mr. Jones. Robert Warwick was married twice, to actresses Josephine Whittell and Stella Lattimore.

Trivia: A graduate of Columbia University and a veteran stage actor, New York-born Charles La Torre played the Italian military officer Tonelli in Casablanca (1942). That was perhaps a highlight in a screen career spent portraying every ethnic type possible, from a Portuguese café proprietor in The Hairy Ape (1944) to an Arabic villain, Abdullah, in Bomba and the Hidden City (1950). This Charles La Torre, who appeared in hundreds of feature films, comedy shorts, and television shows from 1941-1966, should not be confused with Charles Latorre, an African-American player who appeared in several Oscar Micheaux films of the late '30s.

Trivia: Trained at Iowa's Morningside College for a career as a musician, American actor Emory Parnell spent his earliest performing years as a concert violinist. He worked the Chautauqua and Lyceum tent circuits for a decade before leaving the road in 1930. For the next few seasons, Parnell acted and narrated in commercial and industrial films produced in Detroit. Determining that the oppurtunities and renumeration were better in Hollywood, Emory and his actress wife Effie boarded the Super Chief and headed for California. Endowed with a ruddy Irish countenance and perpetual air of frustration, Parnell immediately landed a string of character roles as cops, small town business owners, fathers-in-law and landlords (though his very first film part in Bing Crosby's Dr. Rhythm [1938] was cut out before release). In roles both large and small, Parnell became an inescapable presence in B-films of the '40s; one of his better showings was in the A-picture Louisiana Purchase, in which, as a Paramount movie executive, he sings an opening song about avoiding libel suits! Parnell was a regular in Universal's Ma and Pa Kettle film series (1949-55), playing small town entrepreneur Billy Reed; on TV, the actor appeared as William Bendix' factory foreman The Life of Riley (1952-58). Emory Parnell's last public appearance was in 1974, when he, his wife Effie, and several other hale-and-hearty residents of the Motion Picture Country Home and Hospital were interviewed by Tom Snyder.

Trivia: Blonde Iris Meredith (née Shunn), a former Goldwyn Girl, was beautiful and talented enough to have risen to the top at her studio, Columbia Pictures. Instead, she became typecast as a B-Western heroine, albeit one of the best and busiest in history. Meredith would appear in no less than 31 sagebrush operas, from The Cowboy Star (1936) to The Kid Rides Again (1943), 20 of them opposite the studio's leading cowboy star Charles Starrett. Add to that a handful of serials and Iris had a busy seven years or so. Leaving Columbia in late 1940, Meredith landed at Poverty Row's infamous PRC, a ramshackle studio that quickly earned the nickname of "Pretty Rotten Crud." She did a couple of non-Westerns and a Buster Crabbe Billy the Kid before calling it quits to marry Columbia director Abby Berlin (1907-1965). Rather more brave than any of her screen heroines, a cancer-stricken and horribly disfigured Iris Meredith accepted an award at the 1976 Nashville Western Film Festival, her final public appearance. Appropriately, the veteran Western star received a standing ovation.

Trivia: Fresh out of high school, statuesque brunette actress Frances Gifford played bits and extra roles until landing the lead in the low-budget Mercy Plane (1939), in which she was cast opposite her first husband James Dunn. Two years later she was seen as Robert Benchley's guide through the Disney animation studios in The Reluctant Dragon (1941), and, more importantly, as the fetchingly unclad, endlessly resourceful Nyoka in the Republic serial Jungle Girl (1941). The popularity of the serial might have typecast her forever in such roles, but Gifford's ambition was to star in features. Through the sponsorship of an MGM executive, she landed a contract at that most prestigious of studios, playing leading roles in such films as Our Vines Have Tender Grapes (1945) and She Went to the Races (1945). Her best showing at MGM was as the tormented heroine of Arch Oboler's The Arnelo Affair (1947). On the verge of bigger things, Gifford suffered a series of profound personal setbacks in the late '40s, not least of which was an automobile accident that nearly killed her. She made a few comeback attempts in the 1950s, but spent most of the decade in and out of mental institutions. After nearly 25 years of treatment, Frances Gifford was finally able to start her life over in 1983, devoting the rest of her days to charitable work.

Trivia: A beautiful brunette starlet of the 1940s, Catherine Craig (born Feltus) retired from the screen in 1949 to devote herself to being Mrs. Robert Preston. They had met while studying at the famous Pasadena Playhouse and both were awarded contracts with Paramount shortly after their 1940 wedding. But while Preston quickly established himself as a dependable second lead and, later, a star in his own right, Craig languished in typical starlet assignments. She is perhaps best-remembered for playing one of Rita Hayworth's many sisters in the 1942 musical You Were Never Lovelier (1942) and as John Calvert's leading lady in the ersatz Falcon whodunit Appointment With Murder (1948). She should not be confused with earlier silent era Catherine Craig (aka Katherine Craig).

Trivia: A confirmed teetotaller, mustachioed American actor Jack Norton nonetheless earned cinematic immortality for his innumerable film appearances as a comic drunk. A veteran vaudevillian - he appeared in a comedy act with his wife Lillian - and stage performer, Norton entered films in 1934, often playing stone-cold sober characters; in one Leon Errol two-reeler, One Too Many, he was a stern nightcourt judge sentencing Errol on a charge of public inebriation! From Cockeyed Cavaliers (1934) onward, however, the Jack Norton that audiences loved began staggering his way from one film to another; it seemed for a while that no film could have a scene in a nightclub or salloon without Norton, three sheets to the wind and in top hat and tails, leaning precariously against the bar. To perfect his act, Norton would follow genuine drunks for several city blocks, memorizing each nuance of movement; to avoid becoming too involved in his roles, the actor drank only ginger ale and bicarbonate of soda. Though his appearances as a drunk could fill a book in themselves, Norton could occasionally be seen sober, notably in You Belong to Me (1940), The Fleet's In (1941) and Harold Lloyd's Sin of Harold Diddlebock (1946); he also "took the pledge" in such short comedies as Our Gang's The Awful Tooth (1938), Andy Clyde's Heather and Yon (1944) and the Three Stooges' Rhythm and Weep (1946). One of Norton's oddest roles was as a detective in the Charlie Chan thriller Shadows over Chinatown (1947), in which he went undercover by pretending to be a souse. Retiring from films in 1948 due to illness, Norton occasionally appeared on live TV in the early '50s. Jack Norton's final appearance would have been in a 1955 episode of Jackie Gleason's The Honeymooners, but age and infirmity had so overwhelmed him that he was literally written out of the show as it was being filmed - though Jackie Gleason saw to it that Norton was paid fully for the performance he was ready, willing, but unable to give.

Trivia: The older brother of actresses Etta and Hattie McDaniel, Sam McDaniel began his stage career as a clog dancer with a Denver minstrel show. Later on, he co-starred with his brother Otis in another minstrel troupe, this one managed by his father Henry. Sam and his sister Etta moved to Hollywood during the talkie revolution, securing the sort of bit roles usually reserved for black actors at that time. He earned his professional nickname "Deacon" when he appeared as the "Doleful Deacon" on The Optimistic Do-Nut Hour, a Los Angeles radio program. During this period, Sam encouraged his sister Hattie to come westward and give Hollywood a try; he even arranged Hattie's first radio and nightclub singing jobs. McDaniel continued playing minor movie roles doormen, porters, butlers, janitors while Hattie ascended to stardom, and an Academy Award, as "Mammy" in Gone with the Wind (1939). During the 1950s, McDaniel played a recurring role on TV's Amos 'N' Andy Show.

Trivia: Katharine Aldridge (better known as Kay Aldridge) was a top-flight American fashion model of the 1930s, who translated her popularity into a brief but successful acting career. The dark-haired, blue-eyed cover girl made her feature film debut in Vogues of 1938 (1937). Aldridge went on to primarily play supporting roles. Joining Republic Studios in the early '40s, Aldridge became a leading lady in a few serials, including The Perils of Nyoka (1942) and Haunted Harbor (1944).

Trivia: Former model and chorus girl Katherine Hoffman was signed by Paramount in 1941, where she was billed as Katherine Booth. Moving to MGM in 1942, she changed her screen name to Karin Booth and was given the standard studio "star" build-up. After acquitting herself nicely in MGM's The Unfinished Dance (1947) and The Big City (1948), Karin was dropped by the studio for reasons that remain unclear. Karin Booth continued working in films into the 1950s, usually in such lower-berth programmers as The Cariboo Trail (1950), Tobor the Great (1955) and The World Was His Jury (1958); she retired in 1959.

Trivia: Vivacious American actress Barbara Britton was active in student theatricals at Long Beach City College before signing with Paramount Pictures in 1941. Many of her film appearances were enjoyable but unmemorable, with a few exceptions like her comic turn as Ronald Colman's sister in Champagne for Caesar (1950). Barbara's chief claim to fame was her two-year tenure as inquisitive amateur sleuth Pam North on the Thin Man-like TV series Mr. and Mrs. North. Thereafter, Barbara was best known for her long tenure as commercial spokeswoman for Revlon Products. Perhaps the most intriguing assignment of Barbara Britton's post-North years was the 1959 TV sitcom pilot Head of the Family, in which she created the role of Laura Petrie--a role later essayed by Mary Tyler Moore when Head of the Family was retooled as The Dick Van Dyke Show.

Trivia: A model and the winner of a Chicago Tribune screen test competition, brunette Eleanor Stewart signed with MGM in 1936, but made her mark elsewhere as a leading lady of B-movies. A good rider, she braved the wilderness in no less than 15 low-budget Westerns, including three Hopalong Cassidy entries and two films each opposite Tex Ritter, Tom Keene, and Jack Luden. Stewart retired from filmmaking in 1944 to raise her daughter with MGM publicity man Les Peterson.

Trivia: Former model Jean Wallace entered films at seventeen, playing a bit in Paramount's Louisiana Purchase (1941). That same year, she married actor Franchot Tone with whom she would appear in Jigsaw (1949) and The Man on the Eiffel Tower (1949). Her second husband was actor Cornel Wilde, who upon turning director with 1957's The Devil's Hairpin made it his goal to transform Wallace, whose previous film roles had been largely forgettable, into an actress of stature. As a result, Jean Wallace enjoyed some of her finest on-screen moments in such Wilde-directed productions as Sword of Lancelot (1962), Beach Red (1967) and the pro-ecological No Blade of Glass (1970).

Trivia: After getting out of reform school, he took up boxing at age 12; one of his early coaches was future screen star George Raft. He won the New York State heavyweight amateur title, then turned professional; for four years in the early '30s he held the light-heavyweight world championship. Damon Runyon, then a sportswriter, nicknamed him "Slapsie" on account of the slapping style of his punches. In the mid '30s he began appearing as a Runyonesque comedic character actor in Hollywood films, and was fairly busy onscreen for about a decade; after 1945 his film work was intermittent. He usually played dim-witted, punchdrunk characters with a tendency toward malapropisms.

Trivia: Brunette leading lady Margaret Hayes was signed by Paramount after a brief stage career in 1941. At first billed as Dana Dale, Hayes was seen in other-woman and villainess roles in such pictures as The Lady Has Plans (1942) and The Glass Key (1942). She truly blossomed as an actress in the 1950s, thanks largely to her extensive television work, wherein she was usually billed as Maggie Hayes. Her most conspicuous screen assignment of this period was the role of terrified inner-city schoolteacher Lois Hammond in The Blackboard Jungle (1955). After retiring from show business in 1962, Hayes pursued a variety of successful business ventures, ranging from jewelry design to public relations. Margaret Hayes was married twice, to actor Leif Erickson and producer Herbert Bayard Swope Jr.

Trivia: Joy Barlowe was a contract player for Warner Bros. during the early '40s and played supporting roles in a few feature films, beginning with Louisiana Purchase (1941). The Minnesota native (born Dorothy Thompson) started out singing in Earl Carroll's nightclubs.

Trivia: Edgar Dearing was a full-time Los Angeles motorcycle cop in the '20s when he began accepting small roles in the 2-reel comedies of Hal Roach. These roles hardly constituted a stretch, since he was often cast as a motorcycle cop, principally because he supplied his own uniform and cycle; the best-remembered of these "performances" was in Laurel and Hardy's Two Tars (1928). Hal Roach cameraman George Stevens liked Dearing's work, and saw to it that the policeman-cum-actor was prominently featured in Stevens' RKO Wheeler & Woolsey features Kentucky Kernels (1934) and The Nitwits (1935). When he moved into acting full-time in the '30s, Dearing was still primarily confined to law-enforcement bit roles, though he achieved fourth billing as a tough drill sergeant in the Spencer Tracy/Franchot Tone feature They Gave Him a Gun (1937). Dearing's performing weight was most effectively felt in the Abbott and Costello features of the '40s, where he provided a formidable authority-figure foe for the simpering antics of Lou Costello (notably in the "Go Ahead and Sing" routine in 1944's In Society). Dearing also showed up in a number of '40s 2-reelers; he was particularly amusing as strong man Hercules Jones (a "Charles Atlas" takeoff) in the 1948 Sterling Holloway short Man or Mouse? Edgar Dearing's last screen assignment was a prominent role as townsman Mr. Gorman in Walt Disney's Pollyanna (1960).

Trivia: Character actor Donald Kerr showed up whenever a gumchewing Runyonesque type (often a reporter or process server) was called for. A bit actor even in two-reelers and "B" pictures, Kerr was one of those vaguely familiar faces whom audiences would immediately recognize, ask each other "Who is that?", then return to the film, by which time Kerr had scooted the scene. The actor's first recorded film appearance was in 1933's Carnival Lady. Twenty-two years later, Donald Kerr concluded his career in the same anonymity with which he began it in 1956's Yaqui Drums.

Trivia: An African-American supporting actor from Iowa, Floyd Shackelford was highly visible in Universal Westerns of the 1920s, usually playing Native Americans, Negro cooks, and various servants. His roles got increasingly smaller in the sound era, where he did his fair share of stereotypical Pullman porters.

Trivia: After accumulating experience at the Pasadena Playhouse, William Wright launched his film career in the late '30s. Signed to a Columbia contract in 1942, Wright showed up in roles of varying sizes in the studio's crime melodramas and Ann Miller musicals. Drafted into the army in 1945, Wright had trouble re-establishing himself upon his return to Hollywood a year later. He played detective Philo Vance in one PRC production of 1947, but was replaced by Alan Curtis in the studio's next two Vance mysteries. William Wright died of cancer at the age of 47.

Trivia: The "Genuine Pennzoil Girl" of 1940s billboard fame and the sister of Miss America of 1941, Louise La Planche played a gypsy girl at the age of three in the 1923 Lon Chaney version of The Hunchback of Notre Dame. She was also in some Hal Roach shorts but La Planche's screen career didn't get into high gear until the 1940s when she became a showgirl for MGM and Paramount, appearing as hatcheck girls, handmaidens, and models in everything from Ziegfeld Girl (1941), Road to Morocco (1942), and Easter Parade (1948). After retiring to raise a family, La Planche returned to the limelight in the 1980s, playing bits in such television shows as The Golden Girls, Knots Landing, and Days of Our Lives, as well as the feature film The Rocketeer (1991). At the age of 80, the Ann Arbor, MI, resident and former Miss Catalina was voted "Miss Michigan Achievement 2000."