Trivia: After one year of college he dropped out and moved to England, where he acted in provincial theaters. He returned to the U.S. and worked his way up from stock to Broadway, leading to a film contract with Warners; he debuted onscreen in the ruthless title role of The Mask of Dimitrios (1944). Afterwards he was often typecast as a well-dressed, sleek cad, and in most of his later films he portrayed smooth scoundrels; occasionally, however, he played sympathetic leads. In the late '50s he quit making films, focussing instead on TV and the stage. He appeared in several films in the early '60s before dying of a brain tumor at 51. He was married to stage actress Ruth Ford.

Trivia: Betty Field was a versatile character and lead actress said to have never repeated a characterization. She attended the American Academy of Dramatic Arts before appearing professionally in summer stock in 1933. The following year, Field made her Broadway debut and soon became a popular ingenue in George Abbott's comedies of the late '30s. She made her premiere feature-film appearance in What a Life (1939), reprising her role in a Broadway play of the same name. With her provocative performance in Of Mice and Men (1940), she established herself as a significant actress. Throughout the '40s, Field alternated between Broadway plays and Hollywood films. On screen she tended to play neurotic, hard-bitten women. After only making one film around 1950, Field did not return to steady film work until after 1956, when she became a character actress frequently cast as unkempt but well-meaning mothers. One of her three marriages was to playwright Elmer Rice, who wrote several plays as vehicles for her. Betty Field died of a cerebral hemorrhage in 1973.

Trivia: American actress Beulah Bondi entered the theatre at age 7, playing the male role of Little Lord Fauntleroy; it would be her last role "in drag" and one of the very few times that she'd play a character her own age. Upon graduation from Valparaiso University, she joined a stock company, working throughout the US until her 1925 Broadway debut in Wild Birds. Even in her late twenties and early thirties, Bondi specialized in playing mothers, grandmothers and society dowagers. She made her first film, Street Scene, in 1931, concentrating on movies thereafter. She is best known to modern film fans for her role as James Stewart's mother in the Christmastime favorite It's a Wonderful Life (1946). It was but one of several occasions (among them Vivacious Lady [1938] and Mr. Smith Goes to Washington [1939]) that the actress played Stewart's mother; as late as 1971, Bondi was essaying the same role in the short-lived sitcom The Jimmy Stewart Show. Even after her "official" screen retirement - her last film was Tammy and the Doctor (1963), in which, not surprisingly, she played a wealthy old invalid - Bondi kept herself open for television roles, including an Emmy-winning 1977 performance on the dramatic TV series The Waltons.

Trivia: Familiar to million as the twangy, bucolic Pa Kettle, Percy Kilbride first stepped on the stage in the role of an 18th-century French fop in a San Francisco production of Tale of Two Cities. Interrupting his career to serve in World War I, Kilbride spent the postwar years in regional stock companies. He made a few scattered movie appearances in the 1930s, then returned to Hollywood to stay in 1942, when he re-created his Broadway role in the film version of George Washington Slept Here. Kilbride played a variety of rustic parts until 1947, when he created the Pa Kettle role in The Egg and I. From 1949 through 1955, he starred exclusively in Universal's Ma and Pa Kettle series, retiring from the screen after Ma and Pa Kettle at Waikiki (1955) (Kilbride's co-star Marjorie Main appeared in two more Kettle films opposite Arthur Hunnicutt and Parker Fennelly). In 1964, Percy Kilbride and his actor friend Ralf Belmont were crossing a Los Angeles street near Kilbride's home when a car struck both of them down; Belmont was killed instantly, but Kilbride survived long enough to undergo brain surgery. He died of his injuries after a long hospital stay.

Trivia: Born to Bohemian parents, American actress Blanche Yurka was awarded a scholarship to a school sponsored by the Metropolitan Opera when she was only 15. Appropriately enough, her singing debut was in Balfe's English-language opera Bohemian Girl, performed in Czech. Wearing herself out from studying music and dance, Blanche opted for the less strenuous (but no less demanding) world of acting. She attained star status with a 1929 New York production of The Wild Duck, but didn't consider film acting until she saw, and was impressed by, John Ford's The Informer (1935). Yurka's film debut was, so far as she was concerned, the pinnacle of her film career: As the vengeful Madame de Farge in A Tale of Two Cities (1935), the actress virtually seared the screen and left even jaded big city audiences emotionally drained. Ironically, she was (by her own admission) the 67th actress to be tested for the role. Nothing Yurka ever did on film afterward would come close to her triumph as DeFarge, though she worked in Hollywood until 1953. Good roles in such A-films as Bridge of San Luis Rey (1944) and The Song of Bernadette (1944) aside, she was usually mired in such parts as her "road-company Ouspenskaya" gypsy woman in Columbia's B-melodrama Cry of the Werewolf (1944). That Yurka and Hollywood saw very little in each other was evidenced by 20th Century Fox's 13 Rue Madeline (1945), in which her sizeable and wryly performed role as a French aristocrat went uncredited thanks to Fox's haphazard billing policy. After Thunder in the Sun (1953), Blanche Yurka went back to her first love, the theater, where she scored a personal triumph in the 1970 London production of Madwoman of Chaillot. College drama students are most familiar with Blanche Yurka via her instructional and entertaining book on acting technique, Dear Audience.

Trivia: Chubby, gravelly-voiced American comic actor Charles Kemper learned his trade in vaudeville and minstrel shows. Kemper came to films as a short-subject headliner in 1929, working in the comedy output of Educational Studios at least until 1937. He then spent several seasons on stage and radio before returning to films in 1945 as a character actor. He is best remembered for his quietly chilling portrayal of outlaw leader Uncle Shilo Clegg in John Ford's Wagonmaster (1950). Charles Kemper was fifty years old when he died of injuries sustained in an auto crash; his last film, On Dangerous Ground (1951), was released posthumously.

Trivia: Though descended from a highly respected family of Irish politicians and civil servants, actor J. Carroll Naish played every sort of nationality except Irish during his long career. Naish joined the Navy at age sixteen, and spent the next decade travelling all over the world, absorbing the languages, dialects and customs of several nations. Drifting from job to job while stranded in California, Naish began picking up extra work in Hollywood films. The acting bug took hold, and Naish made his stage debut in a 1926 touring company of The Shanghai Gesture. Within five years he was a well-established member of the theatrical community (the legendary actress Mrs. Leslie Carter was the godmother of Naish's daughter). Naish thrived during the early days of talking pictures thanks to his expertise in a limitless variety of foreign dialects. At various times he was seen as Chinese, Japanese, a Frenchman, a South Seas Islander, Portuguese, an Italian, a German, and a Native American (he played Sitting Bull in the 1954 film of the same name). Many of his assignments were villainous in nature (he was a gangster boss in virtually every Paramount "B" of the late 1930s), though his two Oscar nominations were for sympathetic roles: the tragic Italian POW in Sahara (1943) and the indigent Mexican father of a deceased war hero in A Medal For Benny (1954). Naish continued to flourish on radio and television, at one point playing both a priest and a rabbi on the same anthology series. He starred in both the radio and TV versions of the melting-pot sitcom "Life with Luigi," essayed the title role in 39 episodes of "The New Adventures of Charlie Chan" (1957), and played a comedy Indian on the 1960 sitcom "Guestward Ho." Illness forced him to retire in 1969, but J. Carroll Naish was cajoled back before the cameras by quickie producer Al Adamson for the 1970 ultracheapie Dracula vs. Frankenstein; even weighed down by bad false teeth, coke-bottle glasses and a wheelchair, Naish managed to act the rest of the cast right off the screen.

Trivia: After graduating from NYU, New Jersey-born actor Norman Lloyd worked with Eva LeGalleine's company, then joined Orson Welles' Mercury Theatre. He also appeared in the WPA's progressive Living Newspaper show, and was cast in the Broadway musical Johnny Appleseed. In Hollywood in 1941, Lloyd began a long friendship and professional association with director Alfred Hitchcock. Lloyd's first film was Hitchcock's Saboteur (1942), in which he played the squirrelly Nazi spy Fry, who came to a spectacular end by plummeting from the Statue of Liberty. After a few more villainous film roles, Lloyd was given his first behind-the-scenes production job by director Lewis Milestone, working as an assistant on Milestone's Arch of Triumph (1948). A peripheral victim of the Hollywood blacklist, Lloyd was rescued professionally by Hitchcock, who utilized Lloyd as an actor, director and executive producer on Hitchcock's long-running TV series. Teamed with producer Joan Harrison, Hitchcock's "right arm," Lloyd co-produced a 1968 Broadway TV anthology, Journey to the Unknown. He continued directing episodic television throughout the 1970s and 1980s, and was the first-season producer of the syndicated weekly Roald Dahl's Tales of the Unexpected. Still pursuing acting (though now as a "second career"), Norman Lloyd played the kindly Dr. Esterhaus on the 1980s TV drama St. Elsewhere.

Trivia: Nestor Paiva had the indeterminate ethnic features and gift for dialects that enabled him to play virtually every nationality. Though frequently pegged as a Spaniard, a Greek, a Portuguese, an Italian, an Arab, an even (on radio, at least) an African-American, Paiva was actually born in Fresno, California. A holder of an A.B. degree from the University of California at Berkeley, Paiva developed an interest in acting while performing in college theatricals. Proficient in several languages, Paiva made his stage bow at Berkeley's Greek Theatre in a production of Antigone. His subsequent professional stage career was confined to California; he caught the eye of the studios by appearing in a long-running Los Angeles production of The Drunkard, which costarred another future film player of note, Henry Brandon. He remained with The Drunkard from 1934 to 1945, finally dropping out when his workload in films became too heavy. Paiva appeared in roles both large and small in so many films that it's hard to find a representative appearance. Fans of Bob Hope and Bing Crosby can take in a good cross-section of Paiva's work via his appearances in Road to Morocco (1942), Road to Utopia (1945) and Road to Rio (1947); he has a bit as a street peddler in Morocco, is desperado McGurk in Utopia, and plays the Brazilian theatre manager who isn't fooled by the Wiere Brothers' attempt to pass themselves off as Americans ("You're een the groove, Jackson") in Rio. During his busiest period, 1945 through 1948, Paiva appeared in no fewer than 117 films. The familiar canteloupe-shaped mug and hyperactive eyebrows of Nestor Paiva graced many a film and TV program until his death in 1966; his final film, the William Castle comedy The Spirit is Willing (1967), was released posthumously.

Trivia: From typist to movie star: that was the dream of many a female office worker of the early 20th century, and that dream came true for breathtaking brunette Estelle Taylor. It helped, of course, that she was possessed with boundless ambition and a keen business sense. Marrying into wealth at age 14, she divorced her husband at 18 when her modelling career began to flourish. She enjoyed the attentions of many a Stage Door Johnny while working as a Broadway chorus dancer, and caught the eye of not a few well-heeled producers when she decided upon a film career in 1920. Exotically beautiful, Taylor essayed such film roles as Miriam in DeMille's The Ten Commandments (1923), Mary Queen of Scots in the Mary Pickford vehicle Dorothy Vernon of Haddon Hall (1925), and Lucrezia Borgia (a delightfully wry performance) in John Barrymore's Don Juan. In 1925, Taylor married world heavyweight champion Jack Dempsey, but the marriage ended in a well-publicized divorce in 1931. Making the switchover to sound with ease, Taylor continued to play good roles in such talkies as Cimarron (1931) and Call Her Savage (1932, as Clara Bow's mother) until she retired in the early 1930s. Taylor made a few short subjects in the late 1930s; her last appearance was in Jean Renoir's 1945 feature The Southerner. In the 1988 TV-movie biopic Dempsey, Estelle Taylor was portrayed by Victoria Tennant.

Trivia: A beauty-contest winner at age 13, Dorothy Granger went on to perform in vaudeville with her large and talented family. Granger made her film bow in 1929's Words and Music, and the following year landed a contract with comedy producer Hal Roach. Working with such masters as Harry Langdon, Laurel & Hardy and Charley Chase, she sharpened her own comic skills to perfection, enabling her to assume the unofficial title of "Queen of the Short Subjects." During her long association with two-reelers, she appeared with the likes of W.C. Fields (The Dentist), the Three Stooges (Punch Drunks), Walter Catlett, Edgar Kennedy, Hugh Herbert and a host of others. She also appeared sporadically in features, playing everything from full leads to one-line bits. A favorite of director Mitchell Leisen, Granger essayed amusing cameos in such Leisen productions as Take a Letter, Darling (1942) and Lady in the Dark (1944). George Cukor wanted to cast Granger in the important role of Belle Watling in Gone with the Wind (1939), but producer David O. Selznick decided to go with Ona Munson, who had more "name" value. Granger is most fondly remembered for her appearances in RKO's long-running (1935-51) Leon Errol short-subject series, in which she was usually cast as Leon's highly suspicious spouse. She retired from films in 1963, keeping busy by helping her husband manage a successful Los Angeles upholstery store. Dorothy Granger made her last public appearance in 1993 at the Screen Actors Guild's 50th anniversary celebration.

Trivia: Not to be confused with the popular radio commentator of the same name, American stage actor Paul Harvey made his first film in 1917. Harvey appeared in a variety of character roles, ranging from Sheiks (Kid Millions [34]) to Gangsters (Alibi Ike [35]) before settling into his particular niche as one of Hollywood's favorite blowhard executives. Looking for all the world like one of those old comic-strip bosses who literally blew their tops (toupee and all), Harvey was a pompous target ripe for puncturing by such irreverent comics as Groucho Marx (in A Night in Casablanca [46]) and such down-to-earth types as Doris Day (April in Paris [54]). Paul Harvey's final film role was a typically imperious one in DeMille's The Ten Commandments (55); Harvey died of thrombosis shortly after finishing this assignment.

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: With her scrawny body and puckered-persimmon face, Almira Sessions successfully pursued a six-decade acting career. Born into a socially prominent Washington family, Sessions almost immediately followed her "coming out" as a debutante with her first stage appearance, playing a sultan's wizened, ugly wife in The Sultan of Sulu. She briefly sang comic songs in cabarets before pursuing a New York stage career. In 1940, she traveled to Hollywood to play Cobina of Brenda and Cobina, an uproariously if cruelly caricatured brace of man-hungry spinsters who appeared regularly on Bob Hope's radio show (Elvia Allman was Brenda). Sessions' first film was the 1940 Judy Garland vehicle Little Nellie Kelly. Until her retirement in 1971, she played dozens of housekeepers, gossips, landladies, schoolmarms, maiden aunts, and retirement-home residents. Usually appearing in bits and minor roles, Almira Sessions was always given a few moments to shine onscreen, notably as an outraged in-law in Chaplin's Monsieur Verdoux (1947), the flustered high school teacher in the observatory scene in Rebel Without a Cause (1955), and the hero's inquisitive neighbor in Willard (1971).

Trivia: American actress Florence Bates had been a moderately successful lawyer for two decades when, as a lark, she started acting at California's Pasadena Playhouse in the mid 1930s. After playing a small role in the 1937 film Man In Blue (1937), Bates was "officially" discovered by Hollywood when she was cast as vainglorious dowager Mrs. Van Hopper in Alfred Hitchcock's Oscar-winning Rebecca (1940). From that point onward, Bates became one of Hollywood's favorite "society dragons," most effectively cast in comedies like Heaven Can Wait (1943), as one of Don Ameche's hell-bound old flames, and in The Secret Life of Walter Mitty (1948), as Danny Kaye's terrifying future mother-in-law. Her most significant "straight" part was in I Remember Mama (1948), as the forbiddingly famous author Florence Dana Morehead, whom Irene Dunne, as Mama, timidly approaches on behalf of Dunne's aspiring-writer daughter. Though in fragile health, Florence Bates entered television with the same forcefulness as she'd invaded movies, providing a welcome touch of professionalism to the otherwise atrocious early 1950s situation comedy The Hank McCune Show.

Trivia: Actor Earle Hodgins has been characterized by more than one western-film historian as a grizzled, bucolic Bob Hope type. Usually cast as snake-oil salesmen, Hodgins would brighten up his "B"-western scenes with a snappy stream of patter, leavened by magnificently unfunny wisecracks ("This remedy will give ya a complexion like a peach, fuzz 'n' all..."). When the low-budget western market died in the 1950s, Hodgins continued unabated on such TV series as The Roy Rogers Show and Annie Oakley. He also made appearances in such "A" films as East of Eden (55), typically cast as carnival hucksters and rural sharpsters. In 1961, Earle Hodgins was cast in the recurring role of wizened handyman Lonesome on the TV sitcom Guestward Ho!