Trivia: Inimitable, multi-talented entertainer Danny Kaye first gained fame on Broadway by upstaging the great Gertrude Lawrence in Lady in the Dark in 1941 with an unforgettable rendition of the "Tchaikovsky," in which he rapidly fired off the names of 54 Russian composers in 38 seconds. Born David Daniel Kaminski, a garment worker's son in Brooklyn, New York, Kaye left school at age 13 to work as a mischievous busboy in the popular "borscht belt" resorts of the Catskill Mountains. While endeavoring to break into vaudeville and nightclub acts as a singer and dancer, Kaye also occasionally worked as a soda jerk and an insurance salesman. In 1939, he made his Broadway debut in Straw Hat Revue with Imogene Coca. Following the run of Lady in the Dark, he began making a series of educational films during the '30s. In 1943, he signed a movie contract with producer Sam Goldwyn, and became a star when he appeared in Up in Arms (1944). A talented mimic, physical comedian, singer and dancer, he was unlike any performer who had come before him. Kaye specialized in playing multiple roles or personalities in such films as Wonder Man (1945), The Kid From Brooklyn (1946), The Secret Life of Walter Mitty (1947), The Inspector General (1949), and On the Riviera (1951). Probably his best films are The Court Jester (1956), which contains the unforgettable "pellet with the poison's in the vestle with the pestle" routine, based on similar but less effective bits in earlier films, and White Christmas (1954). His wife, composer-lyricist Sylvia Fine, wrote most of his best gags and patter numbers throughout his career. Though tremendously popular during the mid-'40s through the '50s -- most particularly in Great Britain, where played to record-breaking crowds in the Palladium in 1948 and 1949 (he even made personal visits to Buckingham Palace) -- his bright star began to wane in the late 1950s when he began spending most of his time working for UNICEF, and traveling the world-over to entertain impoverished children. In the early to mid-'60s, he starred in The Danny Kaye Show, a comedy-variety television series for which he won an Emmy in 1964. He also found time to conduct symphony orchestras and appear in Two by Two on Broadway. In 1955, Kaye was awarded an honorary Oscar; the Motion Picture Academy also awarded him the Jean Hersholt Award in 1982 for his selfless work with UNICEF.

Trivia: The son of legendary opera star Leo Slezak, Walter Slezak was a medical student before settling into the comfortable position of bank clerk. Slezak was coerced by his friend, actor/director Michael Curtiz, to accept an acting role in Curtiz's 1922 spectacular Sodom and Gomorrah -- and with this film, Slezak's career in the world of finance came to an end. Those familiar with Walter Slezak only as the corpulent supporting player in such films as Sinbad the Sailor (1947), People Will Talk (1951), and Emil and the Detectives (1964) will be surprised upon viewing Slezak's appearances as a slim, romantic leading man in his German silent films. Unable to keep his weight under control, Slezak decided around 1930 to become a character actor. He made his Broadway debut in the 1930 production Meet My Sister. After 12 years of stage work, Slezak was cast in his first American film, 1942's Once Upon a Honeymoon, playing the fifth-columnist husband of social-climbing Ginger Rogers. Equally adept at comedy and villainy, Slezak was able to combine these two extremes in such films as The Princess and the Pirate (1944) and The Inspector General (1949). Occasionally returning to the stage in the 1950s, Slezak won a Tony award for his portrayal of Cesar in the 1955 musical Fanny, and in 1957 followed in his father's footsteps by singing at the Metropolitan Opera. His TV assignments included the role of the Clock King on Batman (1966-1967). Slezak's 1962 autobiography What Time Is the Next Swan? derived its title from the punch line of an apocryphal story involving his father. At the age of 80, despondent over his many illnesses, Slezak committed suicide in his Beverly Hills home. Walter Slezak was the father of actress Erika Slezak, best known for her continuing role on the ABC soap opera One Life to Live.

Trivia: A former Conover model and ballet dancer, Barbara Bates made her film bow as one of Yvonne DeCarlo's handmaidens in 1945's Salome Where She Danced. She spent several years as a stock ingenue at 20th Century-Fox; her best-known role was as the slyly manipulative fan of stage actress Anne Baxter in the closing scene of All About Eve (1950). She also played Ernestine Gilbreath in the popular Fox-family comedy Cheaper by the Dozen (1950), and its sequel, Belles on Their Toes (1952). In 1954, Barbara was a regular on the TV sitcom It's a Great Life. Long absent from the screen due to poor health and dispirited by the 1967 death of her husband of 20 years, Barbara Bates committed suicide at the age of 43.

Trivia: Eccentric, high-voiced British comedienne/actress Elsa Lanchester started her career as a modern dancer, appearing with Isadora Duncan. Lanchester can be seen bringing unique and usually humorous interpretations to roles in The Private Life of Henry VIII (1933), opposite husband Charles Laughton; The Bride of Frankenstein (1934), where she appears both as a subdued Mary Shelley and a hissing bride; David Copperfield and Naughty Marietta (both 1935); Tales of Manhattan (1942) and Forever and a Day (1943), both with Laughton; Lassie Come Home (1943), in which she is unusually subdued as the mother; The Bishop's Wife (1947); The Inspector General and The Secret Garden (1949); and Come to the Stable (1949), for which she was nominated for an Oscar. She and Laughton are riotous together in Witness for the Prosecution (1957), for which she was also Oscar-nominated, and she also appeared in Bell, Book and Candle (1958) and the Disney films Mary Poppins (1964), as the departing nanny Katie Nanna, and in That Darn Cat (1965). One of her best late performances was in Murder by Death (1976). Lanchester was also an actress at London's Old Vic, an outlandish singer, and a nightclub performer; she co-starred on The John Forsythe Show (1965-66), and was a regular on Nanny and the Professor in 1971.

Trivia: Canadian-born Gene Lockhart made his first stage appearance at age 6; as a teenager, he appeared in comedy sketches with another fledgling performer, Beatrice Lillie. Lockhart's first Broadway production was 1916's Riviera. His later credits on the Great White Way included Eugene O'Neill's Ah, Wilderness and Arthur Miller's Death of a Salesmen, in which Lockhart replaced Lee J. Cobb in the role of Willy Loman. In between acting assignments, Lockhart taught stage technique at the Juilliard School of Music. A prolific writer, Lockhart turned out a number of magazine articles and song lyrics, and contributed several routines to the Broadway revue Bunk of 1926, in which he also starred. After a false start in 1922, Lockhart launched his film career in 1934. His most familiar screen characterization was that of the cowardly criminal who cringed and snivelled upon being caught; he also showed up in several historical films as small-town stuffed shirts and bigoted disbelievers in scientific progress. When not trafficking in petty villainy, Lockhart was quite adept at roles calling for whimsy and confusion, notably Bob Cratchit in the 1938 version of A Christmas Carol and the beleaguered judge in A Miracle on 34th Street (1947). Extending his activities to television, Lockhart starred in the 1955 "dramedy" series His Honor, Homer Bell. Gene Lockhart was the husband of character actress Kathleen Lockhart, the father of leading lady June Lockhart, and the grandfather of 1980s ingenue Anne Lockhart.

Trivia: Walter Catlett began his acting career in stock companies in his hometown of San Francisco. After attending St. Ignacious College, he reached New York in 1911 in the musical The Prince of Pilsen. Catlett's dithering comic gestures and air of perpetual confusion won him a legion of fans and admirers when he starred in several editions of The Ziegfeld Follies, and in the Ziegfeld-produced musical comedy Sally, in which he appeared for three years. Catlett made a handful of silent film appearances, but didn't catch on until the advent of talking pictures allowed moviegoers to see and hear his full comic repertoire. Usually sporting horn-rimmed spectacles or a slightly askew pince-nez, Catlett played dozens of bumbling petty crooks, pompous politicians and sleep-benumbed justices of the peace. Hired for a few days' work in Howard Hawks' Bringing Up Baby (1938), Catlett proved so hilarious in his portrayal of an easily befuddled small-town sheriff that his role was expanded, and he was retained off-screen to offer advice about comic timing to the film's star, Katharine Hepburn. In addition to his supporting appearances, Catlett starred in several 2-reel comedies, and was co-starred with his lifelong friend Raymond Walburn in the low-budget "Henry" series at Monogram. Busy until a few short years before his death, Walter Catlett appeared in such 1950s features as Davy Crockett and the River Pirates (1956), Friendly Persuasion (1956) and Beau James (1957) (as New York governor Al Smith).

Trivia: Few of the performers in director John Ford's How Green Was My Valley (1941) were as qualified to appear in the film as Rhys Williams. Born in Wales and intimately familiar from childhood with that region's various coal-mining communities, the balding, pug-nosed Williams was brought to Hollywood to work as technical director and dialect coach for Ford's film. The director was so impressed by Williams that he cast the actor in the important role of Welsh prize fighter Dai Bando. Accruing further acting experience in summer stock, Rhys Williams became a full-time Hollywood character player, appearing in such films as Mrs. Miniver (1942), The Spiral Staircase (1946), The Inspector General (1949), and Our Man Flint (1966).

Trivia: Apple-cheeked comic actor Benny Baker was a moderately popular Broadway musical comedy performer when he headed to Hollywood in 1934. After his first film, Annapolis Farewell, Baker brightened several Paramount musicals, usually in milquetoastish support of such performers as Martha Raye. After his first brush with moviemaking, Baker returned to Broadway, co-starring in such major productions as DuBarry Was a Lady and Let's Face It. He returned to Tinseltown as a character actor, often in whoops-you-missed-him unbilled roles. Shortly before his retirement in the early 1970s, Benny Baker was featured along with a host of other venerable performers in the SRO Broadway revival of No, No Nanette.

Trivia: In films from 1941, American character actor Norman Leavitt spent much of his career in uncredited bits and supporting roles. Leavitt can briefly be seen in such "A" pictures of the 1940s and 1950s as The Inspector General (1949) and Harvey (1950). His larger roles include Folsom in the 1960 budget western Young Jesse James. Three Stooges fans will immediately recognize Norman Leavitt from The Three Stooges in Orbit (1962), in which he player scientist Emil Sitka's sinister butler--who turned out to be a spy from Mars!

Trivia: In the 1959 Twilight Zone episode "Walking Distance," Gig Young comments that he thinks he's seen drugstore counterman Byron Foulger before. "I've got that kind of face" was the counterman's reply. Indeed, Foulger's mustachioed, bespectacled, tremble-chinned, moon-shaped countenance was one of the most familiar faces ever to grace the screen. A graduate of the University of Utah, Foulger developed a taste for performing in community theatre, making his Broadway debut in the '20s. Foulger then toured with Moroni Olsen's stock company, which led him to the famed Pasadena Playhouse as both actor and director. In films from 1936, Foulger usually played whining milksops, weak-willed sycophants, sanctimonious sales clerks, shifty political appointees, and the occasional unsuspected murderer. In real life, the seemingly timorous actor was not very easily cowed; according to his friend Victor Jory, Foulger once threatened to punch out Errol Flynn at a party because he thought that Flynn was flirting with his wife (Mrs. Foulger was Dorothy Adams, a prolific movie and stage character actress). Usually unbilled in "A" productions, Foulger could count on meatier roles in such "B" pictures as The Man They Could Not Hang (1939) and The Panther's Claw (1943). In the Bowery Boys' Up in Smoke (1957), Foulger is superb as a gleeful, twinkly-eyed Satan. In addition to his film work, Byron Foulger built up quite a gallery of portrayals on television; one of his final stints was the recurring role of engineer Wendell Gibbs on the popular sitcom Petticoat Junction.

Trivia: American actor Lennie Bremen began his career acting in theater groups such as the Works Progress Administration; he also appeared on Broadway before signing with Warner Bros in 1942. He debuted in Pride of the Marines (1945), and went on to play character roles through the late 1960s.

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: A tall Texas native with a lanky frame, Robert Cherry began acting professionally as a teenager and parlayed his distinct looks into a career as a character actor. Cherry made his film debut at 15 with an uncredited role in the Alexander Hall-directed comedy Good Girls Go To Paris (1939) and went on to play bit parts in numerous films. Memorable appearances include parts in a pair of Abbott & Costello episodes and a role as a zombie in Revenge of the Zombies, starring John Carradine. Cherry's final role was the uncredited part of a bus passenger in Jacques Tourneur's film noir Nightfall (1957).

Trivia: The pint-sized American actor Jimmy Conlin preceded his film career as a vaudeville headliner on the Keith and Orpheum circuits, where he appeared with his wife Muriel Glass in a song-and-dance turn called "Conlin and Glass." After starring in the 1928 Vitaphone short Sharps and Flats, Conlin began regularly appearing in movie bit roles in 1933. Writer/director Preston Sturges liked Conlin's work and saw to it that the actor received sizeable roles--with good billing--in such Sturges projects as Sullivan's Travels (1941), Hail the Conquering Hero (1944) and Miracle of Morgan's Creek (1944). Conlin's all-time best role was as Wormy, the birdlike barfly who persuades Harold Lloyd to have his first-ever drink in Sturges' The Sin of Harold Diddlebock (1946). When Sturges' fortunes fell in the 1950s, Conlin and his wife remained loyal friends, communicating on a regular basis with the former top director and helping out in any way they could. In 1954, Conlin had a regular role as Eddie in the syndicated TV series Duffy's Tavern. Jimmy Conlin remained a Hollywood fixture until 1959, when he appeared in his last role as an elderly habitual criminal in Otto Preminger's Anatomy of a Murder.

Trivia: Herbert Heywood spent the bulk of his screen career answering to the nicknames "Pop" and "Old Timer." Already well into middle age when he began his film career in 1935, Heywood could be seen as mailmen, doormen, judges, convicts and railroad workers. Most of his films were made at Universal and Fox, two companies historically averse to crediting their minor players. Among the few roles played by Herbert Heywood to be given names rather than descriptions were Hot Cake Joe in Criminals of the Air (1937) and brakeman Arnold Kelly in King's Row (1941).

Trivia: After years on the circus and vaudeville circuits, Si Jenks came to films in 1931. Virtually always cast as a grizzled, toothless old codger, Jenks was a welcome presence in dozens of westerns. In Columbia's Tim McCoy series of the early 1930s, Jenks was often teamed with another specialist in old-coot roles, Walter Brennan (17 years younger than Jenks). In non-westerns, Si Jenks played town drunks, hillbillies and Oldest Living Citizens usually with names like Homer and Zeke until his retirement at the age of 76.

Trivia: The son of a patent medicine manufacturer, American actor Alan Hale chose a theatrical career at a time when, according to his son Alan Hale Jr., boarding houses would post signs reading "No Dogs or Actors Allowed." Undaunted, Hale spent several years on stage after graduating from Philadelphia University, entering films as a slapstick comedian for Philly's Lubin Co. in 1911. Bolstering his acting income with odd jobs as a newspaperman and itinerant inventor (at one point he considered becoming an osteopath!), Hale finally enjoyed a measure of security as a much-in-demand character actor in the 1920s, usually as hard-hearted villains. One of his more benign roles was as Little John in Douglas Fairbanks' Robin Hood (1922), a role he would repeat opposite Errol Flynn in 1938 and John Derek in 1950. Talkies made Hale more popular than ever, especially in his many roles as Irishmen, blusterers and "best pals" for Warner Bros. Throughout his career, Hale never lost his love for inventing things, and reportedly patented or financed items as commonplace as auto brakes and as esoteric as greaseless potato chips. Alan Hale contracted pneumonia and died while working on the Warner Bros. western Montana (1950), which starred Hale's perennial screen cohort Errol Flynn.

Trivia: Though best known to modern filmgoers as a horror star, cadaverous John Carradine was, in his prime, one of the most versatile character actors on the silver screen. The son of a journalist father and physician mother, Carradine was given an expensive education in Philadelphia and New York. Upon graduating from the Graphic Arts School, he intended to make his living as a painter and sculptor, but in 1923 he was sidetracked into acting. Working for a series of low-paying stock companies throughout the 1920s, he made ends meet as a quick-sketch portrait painter and scenic designer. He came to Hollywood in 1930, where his extensive talents and eccentric behavior almost immediately brought him to the attention of casting directors. He played a dizzying variety of distinctive bit parts -- a huntsman in Bride of Frankenstein (1935), a crowd agitator in Les Miserables (1935) -- before he was signed to a 20th Century Fox contract in 1936. His first major role was the sadistic prison guard in John Ford's Prisoner of Shark Island (1936), which launched a long and fruitful association with Ford, culminating in such memorable screen characterizations as the gentleman gambler in Stagecoach (1939) and Preacher Casy ("I lost the callin'!") in The Grapes of Wrath (1940). Usually typecast as a villain, Carradine occasionally surprised his followers with non-villainous roles like the philosophical cab driver in Alexander's Ragtime Band (1938) and Abraham Lincoln in Of Human Hearts (1938). Throughout his Hollywood years, Carradine's first love remained the theater; to fund his various stage projects (which included his own Shakespearean troupe), he had no qualms about accepting film work in the lowest of low-budget productions. Ironically, it was in one of these Poverty Row cheapies, PRC's Bluebeard (1944), that the actor delivered what many consider his finest performance. Though he occasionally appeared in an A-picture in the 1950s and 1960s (The Ten Commandments, Cheyenne Autumn), Carradine was pretty much consigned to cheapies during those decades, including such horror epics as The Black Sleep (1956), The Unearthly (1957), and the notorious Billy the Kid Meets Dracula (1966). He also appeared in innumerable television programs, among them Twilight Zone, The Munsters, Thriller, and The Red Skelton Show, and from 1962 to 1964 enjoyed a long Broadway run as courtesan-procurer Lycus in A Funny Thing Happened on the Way to the Forum. Though painfully crippled by arthritis in his last years, Carradine never stopped working, showing up in films ranging from Everything You Always Wanted to Know About Sex But Were Afraid to Ask (1972) to Peggy Sue Got Married (1984). Married four times, John Carradine was the father of actors David, Keith, Robert, and Bruce Carradine.