Trivia: Professionally, British actor Robert Newton was two people: The wry, sensitive, often subtle performer seen in such plays as Noel Coward's Private Lives and such films as This Happy Breed (1944), and the eye-rolling, chop-licking ham in such roles as Bill Sykes in Oliver Twist (1948) and Long John Silver (arr! arr!) in Treasure Island (1950). Born into a gifted family -- his mother was a writer, his father and his siblings painters -- Newton made his professional debut when he was 15 with the British Repertory Company. Before he was 25, Newton had toured the world as an actor and stage manager, making his Broadway bow when he replaced Laurence Olivier in Private Lives. There was little of Olivier (except perhaps the older Olivier) in most of Newton's movie roles; despite his wide actor's range, he seemed happiest tearing a passion to tatters in such films as Jamaica Inn (1939), Blackbeard the Pirate (1952) and The Beachcomber (1954). Ripe though his acting could be, it was clear Newton knew his audience. From 1947 through 1951 he was one of Britain's top ten moneymaking film stars, so who were the critics to tell him what to do? Newton's final film role was the dogged Inspector Fix in the blockbuster Around the World in 80 Days (1956). Less than one month after completing Around the World in 80 Days, Robert Newton died of a heart attack in the arms of his wife.

Trivia: Daughter of a Texas postal clerk, actress Linda Darnell trained to be a dancer, and came to Hollywood's attention as a photographer's model. Though only 15, Darnell looked quite mature and seductive in her first motion picture, Hotel For Women (1937), and before she was twenty she found herself the leading lady of such 20th Century-Fox male heartthrobs as Tyrone Power and Henry Fonda. Weary of thankless good-girl roles, Darnell scored a personal triumph when loaned out to United Artists for September Storm (1944), in which she played a "Scarlett O'Hara" type Russian vixen. Thereafter, 20th Century-Fox assigned the actress meatier, more substantial parts, culminating in the much-sought-after leading role in 1947's Forever Amber. Director Joseph L. Mankiewicz followed up this triumph by giving Darnell two of her best parts--Paul Douglas' "wrong side of the tracks" wife in A Letter to Three Wives (1949) and Richard Widmark's racist girlfriend in No Way Out (1950) (though befitting her star status, Darnell "reformed" at the end of both films). When her Fox contract ended in 1952, Darnell found herself cast adrift in Hollywood, the good roles fewer and farther between; by the mid-1960s, she was appearing as a nightclub singer, touring in summer theatre, and accepting supporting roles on television. Tragically, Darnell died in 1965 of severe burns suffered in a house fire. Ironically, Darnell had a lifelong fear of dying in flames, speaking publicly of her phobia after appearing in a "burned at the stake" sequence in the 1946 film Anna and the King of Siam.

Trivia: The son of a real-estate man, blonde, athletic John Charles Andes became Keith Andes when signed to a contract by David O. Selznick in the 1940s. At that time, Andes, a recent Temple University graduate, was a member of the Army Air Force, touring in the all-serviceman stage production Winged Victory. His stage reputation rested on his rich baritone singing voice, which he seldom got to utilize in his film and TV work. After several failed pilot films, Andes was given his own starring series in 1959: the syndicated This Man Dawson, in which he played an ex-military man hired to clean up a corrupt police department in a unnamed city. To bone up on his role, Andes was permitted to sit in on the LAPD three-man board which determined who would be selected as police officers--and became so adept at his "job" that he ended up rejecting a few candidates! Andes' later TV work included a 13-week stint as Glynis Johns' long-suffering husband on the 1963 sitcom Glynis. Never completely abandoning the stage, Keith Andes co-starred with Lucille Ball in the 1960 Broadway musical Wildcat, and later in the decade headlined a touring company of Man of La Mancha.

Trivia: Although he went on to play a variety of street-wise working-class louts, William Bendix was the son of the conductor of the New York Metropolitan Orchestra. He appeared in one film as a child, then went on to a variety of jobs (including time spent as a minor league baseball player) before joining the New York Theater Guild. His first Broadway appearance was as a cop in William Saroyan's The Time of Your Life (1939); he then began a healthy film career in 1942 with Woman of the Year; the same year, he appeared in Wake Island, for which he was nominated for Best Supporting Actor. With his thick features, broken nose and affected Brooklyn accent, Bendix often played the time-weathered meanie with a heart of gold; eventually he was typecast as dumb and brutish characters. He is best known for his role on the radio show The Life of Riley, which he reprised in the film of the same name (1949) and into a television series in 1953. He played Babe Ruth in The Babe Ruth Story (1948), and generally worked for Paramount.

Trivia: Torin Thatcher came out of a military family in India to become a top stage actor in England and a well-known character actor in international films and television. Born Torin Herbert Erskine Thatcher in Bombay, India, in 1905, he was the great-grandson and grandson of generals -- one of whom had fought with Clive -- but he planned for a quieter life; educated at Bedford School, he originally intended to become a teacher before being bitten by the acting bug. Instead, he attended the Royal Academy of Dramatic Art, and later worked in every kind of theatrical production there was, from Greek tragedy to burlesque. Thatcher made his London debut in 1927 as Tranio in a production of The Taming of the Shrew with the Old Vic Company, and he subsequently portrayed both the Ghost and Claudius in Hamlet with the same company. In the years that followed, Thatcher was in more than 50 Shakespearean productions and 20 plays by George Bernard Shaw. The outbreak of the Second World War took Thatcher into uniform, and he served for six years in the army, achieving the rank of lieutenant colonel before he returned to civilian life in 1946. In 1944, Thatcher had made his first acquaintance of the theater world in New York when he found himself on leave in the city with only ten shillings in his pocket -- he spent it sparingly and discovered that Allied servicemen, even officers, were accorded a great many perks in those days; he was also amazed and delighted when he was recognized while on his way into a play in New York by a theatergoer who was able to name virtually every movie that he'd done in England over the preceding decade. He got a firsthand look at the city's generosity and also made sure to meet a number of people associated with the New York theater scene, contacts that served him in good stead when he returned to New York in 1946, as a civilian eager to pick up his career. He starred in two plays opposite Katharine Cornell, First Born and That Lady, and portrayed Claggart in a stage adaptation of Billy Budd, but his big success was in Noel Langley and Robert Morley's Edward My Son. Thatcher had been in movies in England since 1933, in small roles, occasionally in major and important films such as Alfred Hitchcock's Young and Innocent (1937) and Michael Powell's The Spy in Black (1939); his British career had peaked with a superb performance in a small but important role in Carol Reed's The Fallen Idol (1948). After moving to the United States, however, Thatcher quickly moved up to starring and major supporting roles in Hollywood movies, beginning with Affair in Trinidad (1952). He was busy at 20th Century Fox, Universal, and Warner Bros. over the next decade, moving between their American and British units, and stood out in such hit movies as The Crimson Pirate (1952) (as the pirate Humble Bellows) and Love Is a Many-Splendored Thing (1955). Although Thatcher could play benevolent characters, his intense expression and presence and imposing physique made him more natural as a villain, and he spent his later career in an array of screen malefactors, of whom the best known was the sorcerer Sokurah in The 7th Voyage of Sinbad (1958), directed by Nathan Juran. Thatcher and Juran were close friends and the director loved to use him -- the two became a kind of double act together for a time, turning up in "The Space Trader" episode of Lost in Space, guest-starring Thatcher and directed by Juran.

Trivia: For as long as she could remember, Irene Ryan was performing on some stage or other. From the 1920s onward, she and her husband Timothy Ryan formed the popular vaudeville duo Tim and Irene. They carried over their song, dance and snappy patter into a brief series of two-reel comedies and several radio programs. During her first burst of filmmaking activity in the 1940s, Ryan played comedy relief parts in a number of B pictures scripted by her husband. Her standard characterization at this time was the traditional wisecracking, man-hungry spinster. During and after her divorce, Ryan continued accepting roles of varying sizes in such pictures as Woman on the Beach (1948), My Dear Secretary (1948), Mighty Joe Young (1949), Bonzo Goes to College (1952) and Blackbeard the Pirate (1952). By the early 1960s, Ryan was (as she would later cheerfully admit) pretty much washed up in show business. All this changed when she was invited to audition for an upcoming sitcom about a family of mountaineers who suddenly come into a fortune. Ryan read one single line and was hired on the spot: she played Granny on The Beverly Hillbillies from 1962 through 1971, never missing an opportunity to express gratitude for her involvement in so popular a project. No sooner had Hillbillies folded than Irene Ryan was cast in a show-stopping role in the 1971 Broadway musical Pippin, scoring yet another personal success--which, sadly, turned out to be her last.

Trivia: Born to a non-theatrical British family, Alan Mowbray was in his later years vague concerning the exact date that he took to the stage. In some accounts, he was touring the provinces before joining the British Navy in World War I; in others, he turned to acting after the war, purportedly because he was broke and had no discernible "practical" skills. No matter when he began, Mowbray climbed relatively quickly to Broadway and London stardom, spending several seasons on the road with the Theater Guild; his favorite stage parts were those conceived by Bernard Shaw and Noel Coward. Turning to films in the early talkie era, Mowbray received good notices for his portrayal of George Washington in 1931's Alexander Hamilton (a characterization he'd repeat along more comic lines for the 1945 musical Where Do We Go From Here?). He also had the distinction of appearing with three of the screen's Sherlock Holmeses: Clive Brook (Sherlock Holmes [1932]), Reginald Owen (A Study in Scarlet [1933], in which Mowbray played Lestrade), and Basil Rathbone (Terror by Night [1946]). John Ford fans will remember Mowbray's brace of appearances as alcoholic ham actors in My Darling Clementine (1946) and Wagonmaster (1950). Lovers of film comedies might recall Mowbray's turns as the long-suffering butler in the first two Topper films and as "the Devil Himself" (as he was billed) in the 1942 Hal Roach streamliner The Devil With Hitler. And there was one bona fide romantic lead (in Technicolor yet), opposite Miriam Hopkins in Becky Sharp (1935). Otherwise, Mowbray was shown to best advantage in his many "pompous blowhard" roles, and in his frequent appearances as the "surprise" killer in murder mysteries (Charlie Chan in London, The Case Against Mrs. Ames, Abbott and Costello Meet the Killer: Boris Karloff, and so many others). In his off hours, Mowbray was a member of several acting fraternities, and also of the Royal Geographic Society. One of Alan Mowbray's favorite roles was as the softhearted con man protagonist in the TV series Colonel Humphrey Flack, which ran on the Dumont network in 1953, then as a syndicated series in 1958.

Trivia: A holder of a BA degree from the University of San Francisco, Richard Egan was an Army judo instructor during WorldWar II. While working towards his MA in theatre at Stanford University, the rugged Egan was discovered by a Warner Bros. talent scout. After his apprenticeship in supporting roles, Egan was signed as a leading man by 20th Century-Fox, where he was touted as "another Gable." Most comfortable in brawling adventure films, Egan proved a capable dramatic actor in such films as A View from Pompey's Head (1955). Many of his starring appearances in the 1960s were in such esoterica as Esther and the King (1960) and The 300 Spartans (1962) and in foreign-filmed westerns. In 1962, Egan starred as Jim Redigo, foreman of a sprawling New Mexico ranch, in the contemporary western TV series Empire; for its second season, the series was shortened from one hour to thirty minutes per week, and retitled Redigo. During his last decade, Richard Egan was a prolific dinner-theatre star throughout the U.S., and also appeared as Samuel Clegg II on the TV daytime drama Capitol.

Trivia: Once seen in close-up (or even in a medium shot), Skelton Knaggs, with his outsized head, large eyes, and prominent ears, is seldom forgotten by filmgoers; for two decades, from the mid-'30s until his death in 1955, directors loved to use Skelton Knaggs to dress a horror set or establish a menacing mood in a thriller with his mere presence in a shot. A character actor with a unique name and specialty, British-born Skelton Knaggs was an expert in half-wit roles, but that was only a small part of his range onscreen. With his small stature and oversized head and features, he could look demented or just plain sinister. A graduate of the Royal Academy of Dramatic Art, Knaggs established himself in London on stage in William Shakespeare's Cymbeline and made appearances in various British films of the 1930s, including roles in Victor Saville's South Riding and Michael Powell's The Spy in Black. He made his first appearance in an American film in Victor Halperin's grisly thriller Torture Ship, playing one of the criminals on whom well-intentioned (but quite mad) scientist Irving Pichel plans to perform glandular experiments, but he soon moved up to higher budgeted films from the major studios, although still almost inevitably in sinister roles. Knaggs' career reached a peak in the mid-'40s, when he worked in supporting roles in ambitious major studio films such as None but the Lonely Heart (a fascinating but failed attempt at a serious drama by Cary Grant) and unusual independently made features like Douglas Sirk's early Hollywood effort Thieves' Holiday, while also making the rounds of such popular medium-budget Universal Pictures productions as House of Dracula, The Invisible Man's Revenge, and Terror By Night. The latter, the penultimate entry in the Basil Rathbone/Nigel Bruce Sherlock Holmes series at Universal, gave him a notably prominent role as the diminutive train-bound assassin, stealthily murdering his victims and disappearing from sight. He also worked at 20th Century Fox in such high profile movies as The Lodger and Forever Amber, but it was in small- and medium-scale films that Knaggs usually stood out. In all, his work was confined to an unsual body of movies right to the year of his death, in which he appeared in Fritz Lang's widescreen swashbuckler Moonfleet (which was almost more a period thriller than a costume adventure story), at MGM. Knaggs was typed in malevolent supporting parts from the outset of his Hollywood career, and the nearest that he ever got to a starring role came about when one producer -- Val Lewton -- decided to play off that image in the 1943 psychological chiller The Ghost Ship. Knaggs' character, a mute seaman, narrates the film's key sections with an internal voice-over monologue that is more hissed than spoken, leading the audience down all manner of strange psychological paths around the script's action; Knaggs' seaman ultimately rescues the hero from near-certain death. Even this was an offbeat lead role and unfortunately, as a result of a lawsuit, The Ghost Ship (and with it Knaggs' most interesting and fully realized screen performance) was withdrawn from distribution soon after release in 1944 and suppressed for 50 years, until the mid-'90s.

Trivia: American actor Dick Wessel had a face like a Mack Truck bulldog and a screen personality to match. After several years on stage, Wessel began showing up in Hollywood extra roles around 1933; he is fleetingly visible in the Marx Brothers' Duck Soup (1933), Laurel and Hardy's Bonnie Scotland (1935), and the Columbia "screwball" comedy She Couldn't Take It (1935). The size of his roles increased in the '40s; perhaps his best feature-film showing was as the eponymous bald-domed master criminal in Dick Tracy vs. Cueball (1946). He was a valuable member of Columbia Pictures' short subject stock company, playing a variety of bank robbers, wrestlers, jealous husbands and lazy brother-in-laws. Among his more memorable 2-reel appearances were as lovestruck boxer "Chopper" in The Three Stooges' Fright Night (1947), Andy Clyde's invention-happy brother-in-law in Eight Ball Andy (1948), and Hugh Herbert's overly sensitive strongman neighbor in Hot Heir (1947). Wessel was shown to good (if unbilled) advantage as a handlebar-mustached railroad engineer in the superspectacular Around the World in 80 Days (1956), and had a regular role as Carney on the 1959 TV adventure series Riverboat. Dick Wessel's farewell screen appearance was as a harried delivery man in Disney's The Ugly Dachshund (1965).

Trivia: American-born Anthony Caruso decided early in his showbiz career to cash in on his last name by becoming a singer. Though he enjoyed some success in this field, Caruso had better luck securing acting roles. Typecast as a villain from his first film, Johnny Apollo (1940), onward, he remained a reliable screen menace until the 1980s. Usually cast as an Italian (he was Louis Chiavelli in 1950's The Asphalt Jungle), he has also played his share of Greeks, Spaniards, Slavs, and Indian chiefs. He was occasionally afforded an opportunity to essay sympathetic characters on the various TV religious anthologies of the 1960s and 1970s, notably This Is the Life. In 1976, Anthony Caruso enjoyed one of his biggest and most prominent screen roles in Zebra Force.On April 4, 2003 Anthony Caruso died following an extended illness in Brentwood, CA. He was 86.

Trivia: When diehard American movie fans speak of Jack Lambert, they are generally not referring to the British character actor of that name, but of the New York-born supporting player who was most often seen in gangster roles. Following Broadway experience, Lambert came to Hollywood in 1943, to menace Kay Kyser in the MGM musical comedy Swing Fever. Usually a secondary bad guy, Lambert was the main menace -- a scarfaced thug with a hook for a hand -- in Dick Tracy's Dilemma (1947). A less malevolent Jack Lambert was seen on a weekly basis as Joshua on the 1959-60 TV adventure series Riverboat.

Trivia: A former professional baseball player, Pat Flaherty was seen in quite a few baseball pictures after his 1934 screen debut. Flaherty can be seen in roles both large and small in Death on the Diamond (1934), Pride of the Yankees (1942), It Happened in Flatbush (1942), The Stratton Story (1949, as the Western All-Stars coach), The Jackie Robinson Story (1950) and The Winning Team (1952, as legendary umpire Bill Klem). In 1948's Babe Ruth Story, Flaherty not only essayed the role of Bill Corrigan, but also served as the film's technical advisor. Outside the realm of baseball, he was usually cast in blunt, muscle-bound roles, notably Fredric March's taciturn male nurse "Cuddles" in A Star is Born (1937). One of Pat Flaherty's most unusual assignments was Wheeler and Woolsey's Off Again, On Again (1937), in which, upon finding his wife (Patricia Wilder) in a compromising position with Bert Wheeler, he doesn't pummel the hapless Wheeler as expected, but instead meekly apologizes for his wife's flirtatiousness!

Trivia: Also billed as Saul Gorse and Sol Gorss, this busy character actor/stunt man entered films in 1933. Gorss spent the better part of his career at Warner Bros., playing muscular utility roles and doubling for the studio's male stars. He forsook Hollywood for war service in 1943, then returned to films, once more cast in minor roles in westerns and crime pictures. One of Saul Gorss' most distinguished credits of the 1950s was The Thing, in which he was one of the stunt performers and coordinators.

Trivia: Mexican-born utility actor Joe Dominguez claimed to have entered films in 1913, and to have appeared in over 300 pictures. Primarily a bit player, Dominguez usually showed up in Westerns, serials, and historical films with South-of-the-Border settings. Among Joe Dominguez' larger roles were Gonzalez in Fritz Lang's Rancho Notorious (1952) and the Grandfather in I Love You, Alice B. Toklas (1970), his last film.

Trivia: Yet another country & western music performer turned B-Western bit player, mustachioed Al Haskell and his accordion joined Johnny Luther, Chuck Baldra, Jack Jones and, to the regret of his fans, a singing Ken Maynard in Honor of the Range (1934), and later performed with Oscar Gahan and Rudy Sooter in Roy Rogers' Frontier Pony Express (1939). As an actor, Haskell would appear in nearly 100 B-Westerns and serials, almost always unbilled and often playing a henchman. His screen career lasted well into the 1950s.