Trivia: A radio and stage actress since early childhood, Mala Powers made her first film appearance at age 11 in the 1942 Dead End Kids opus Tough As They Come. After attending U.C.L.A., she was discovered by filmmaker/actress Ida Lupino who starred Powers in her 1950 film Outrage. That same year, Stanley Kramer signed Powers to star opposite Jose Ferrer in Cyrano de Bergerac. Though critical reviews for the film were mixed, Powers was praised for her beauty, sensitivity, and naturalness in portraying Cyrano's great love, Roxanne. It remains her best-known role. Her promising career was nipped in the bud the following year by a life-threatening illness. Following her recovery, Powers had difficulty obtaining production insurance and this in turn made it difficult for her to appear in A-features. As a result, she spent the majority of her subsequent career appearing in low-budget Westerns and adventure films. She died of complications from leukemia, at age 76, in early June 2007.

Trivia: The career of William Prince dates back to his first stage work in the late '30s. On film, Prince came across as handsome and personable, but somehow, despite the fact that he appeared in numerous feature films, his career never caught fire and major movie stardom eluded him. His best movie role was as the good-looking but vapid Christian in the 1950 Cyrano de Bergerac. Ageing gracefully into a solid character actor, Prince remained in demand for film and TV roles into the 1990s. William Prince's latter-day TV reputation rested on his hundreds of soap opera appearances: He played Ken Baxter on Another World, Ben Travis on The Edge of Night, Judge Henderson on Search for Tomorrow, Russell Barry on A World Apart, and the father of the title character in Young Dr. Malone. Prince passed away at age 83 in Tarrytown, NY.

Trivia: The son of a St. Louis grocer, Morris Carnovsky inaugurated his stage career in 1919. He played an extensive variety of roles on Broadway, from Shakespeare to Clifford Odets. In films from 1937, he was seen in such noteworthy roles as Anatole France in the Oscar-winning Life of Emile Zola (1937) and Papa Gershwin in Rhapsody in Blue (1945). He was also an effective "civilized heavy" opposite Humphrey Bogart in Dead Reckoning (1947). Carnovsky's film career came to sudden halt in 1951 when he was blacklisted after an appearance as an unfriendly witness before the House Un-American Activities Committee. Though he was denied film and TV work, Carnovsky and his actress wife Phoebe Brand worked steadily on-stage in New York and Europe. He returned to films in the French-Italian production of Arthur Miller's A View From the Bridge (1962), and in 1974 made his first appearance in a Hollywood film in nearly a quarter of a century. Still active into his late eighties, Morris Carnovsky worked as an actor and director on the regional theater circuit.

Trivia: The son of American actress Lillian Elliott, Lloyd Corrigan began working in films as a bit actor in the silent era. But Corrigan's heart was in writing and directing during his formative professional years. He was among Raymond Griffith's writing staff for the Civil War comedy Hands Up (1926), and later penned several of Bebe Daniels' Paramount vehicles. Corrigan worked on the scripts of all three of Paramount's "Fu Manchu" films (1929-30) starring Warner Oland; he also directed the last of the series, Daughter of the Dragon (1930). In contrast to his later light-hearted acting roles, Corrigan's tastes ran to mystery and melodrama in most of his directing assignments, as witness Murder on a Honeymoon (1935) and Night Key (1937). In 1938, Corrigan abandoned directing to concentrate on acting. A porcine little man with an open-faced, wide-eyed expression, Corrigan specialized in likable businessmen and befuddled millionaires (especially in Columbia's Boston Blackie series). This quality was often as not used to lead the audience astray in such films as Maisie Gets Her Man (1942) and The Thin Man Goes Home (1944), in which the bumbling, seemingly harmless Corrigan would turn out to be a master criminal or murderer. Lloyd Corrigan continued acting in films until the mid '60s; he also was a prolific TV performer, playing continuing roles in the TV sitcoms Happy (1960) and Hank (1965), and showing up on a semi-regular basis as Ned Buntline on the long-running western Wyatt Earp (1955-61).

Trivia: Virginia Farmer made many Hollywood features during the '40s. In the 1930s, she founded the Los Angeles branch of the Federal Theater Project. During the late 1940s her career was ruined after she was deemed a hostile witness by the House Un-American Activities Committee. Many years later Farmer taught at the L.A. Actors Studio.

Trivia: In his few major film appearances, American actor Edgar Barrier exuded a professorial air, which he frequently augmented by sporting a well-groomed beard. Barrier's best acting opportunities came via his association with Orson Welles' Mercury Theatre, both in its Broadway incarnation and its radio spinoff. Welles used Barrier to good advantage in his film productions of Journey Into Fear and MacBeth; in the latter picture, Barrier plays the unfortunate Banquo, whose materialization as a ghost is one of the film's highlights. Outside of the Welles orbit, Barrier worked steadily on radio, notably in the spooky confections of Lights Out maven Arch Oboler. In 1945, Barrier starred in the radio detective weekly The Saint. Many of Edgar Barrier's film roles were brief, and often uncredited (War of the Worlds [1953], On the Double [1961] etc.); his most memorable film appearance was as the mad sportsman Count Zaroff, enthusiastic hunter of human beings, in A Game of Death (1945).

Trivia: "I started at 20th Century-Fox in 1902," was Elena Verdugo's flippant response to an interviewer who had the poor taste to ask her age. In truth, Verdugo descended from a Spanish family that had settled in California in 1776, made her first movie appearance as a dancer in Fox's 1940 musical Down Argentine Way after studying Latin-style terpsichore from the age of three. Educated by studio tutors, she spent her teen years playing Mexican peasants, gypsy girls, harem handmaidens and exotic South Sea islanders. Her co-stars ranged from Lou Costello (in 1946's Little Giant) to the Wolfman (aka Lon Chaney Jr. in 1945's House of Frankenstein). Verdugo's comic potential lay largely dormant until 1952, when she replaced Audrey Totter as star of the radio sitcom Meet Millie. She continued to portray Brooklynese secretary Millie Bronson on the subsequent TV version, which ran from 1954 to 1956. Verdugo then went into early retirement, reemerging in 1959 on the straw-hat circuit in such musicals as Oklahoma! and South Pacific. Beginning with her role as hotel manager Gerry in Redigo (1963), she entered into her TV-series supporting player phase; she went on to portray Audrey in The New Phil Silvers Show (1964), Lynn Hall in Many Happy Returns (1964) and Alice Henderson in Mona McCluskey (1965). Elena Verdugo is most fondly remembered as pragmatic but warmhearted nurse Consuelo Lopez on Marcus Welby MD (1969-76).

Trivia: American actor Arthur Blake was best known as a nightclub female impersonator, but he also appeared in a few films, primarily during the late '40s through the early '50s.

Trivia: Dapper, rotund character actor Don Beddoe was born in New York and raised in Cincinnati, where his father headed the Conservatory of Music. Beddoe's professional career began in Cincinnati, first as a journalist and then an actor. He made his Broadway debut in the unfortunately titled Nigger Rich, which starred Spencer Tracy. Beddoe became a fixture of Columbia Pictures in the 1930s and 1940s, playing minor roles in "A"s like Golden Boy, supporting parts ranging from cops to conventioneers in the studio's "B" features, and flustered comedy foil to the antics of such Columbia short subject stars as The Three Stooges, Andy Clyde and Charley Chase. Beddoe kept busy until the mid-1980s with leading roles in 1961's The Boy Who Caught a Crook and Saintly Sinners, and (as a singing leprechaun) in 1962's Jack the Giant Killer.

Trivia: The son of actors, Percy Helton began his own career at age two in a Tony Pastor revue in which his parents were performing. The undersized Helton was a valuable juvenile player for producer David Belasco, making his film debut in a 1915 Belasco production, The Fairy and the Waif. Helton matured into adult roles under the stern guidance of George M. Cohan. After serving in the Army during World War I, Helton established himself on Broadway, appearing in such productions as Young America, One Sunday Afternoon and The Fabulous Invalid. He made his talkie debut in 1947's Miracle on 34th Street, playing the inebriated Macy's Santa Claus whom Edmund Gwenn replaces. Perhaps the quintessential "who is that?" actor, Helton popped up, often uncredited, in over one hundred succinct screen characterizations. Forever hunched over and eternally short of breath, he played many an obnoxious clerk, nosey mailman, irascible bartender, officious train conductor and tremulous stool pigeon. His credits include Fancy Pants (1950), The Robe (1953), White Christmas (1954), Rally Round the Flag Boys (1959), The Music Man (1962) and Hush Hush Sweet Charlotte (1965), as well as two appearances as sweetshop proprietor Mike Clancy in the Bowery Boys series. Thanks to his trademarked squeaky voice, and because he showed up in so many "cult" films (Wicked Woman, Kiss Me Deadly, Sons of Katie Elder), Helton became something of a high-camp icon in his last years. In this vein, Percy Helton was cast as the "Heraldic Messenger" in the bizarre Monkees vehicle Head (he showed up at the Monkees' doorstep with a beautiful blonde manacled to his wrist!), the treacherous Sweetieface in the satirical western Butch Cassidy and the Sundance Kid (1969), and the bedraggled bank clerk Cratchit on the TV series The Beverly Hillbillies.

Trivia: Of Swedish-American heritage, Virginia Christine (born Virginia Kraft) grew up in largely Scandinavian communities in Iowa and Minnesota. As a high schooler, Christine won a National Forensic League award, which led to her first professional engagement on a Chicago radio station. When her family moved to Los Angeles, Christine sought out radio work while attending college. She was trained for a theatrical career by actor/director Fritz Feld, who later became her husband. In 1942, she signed a contract with Warner Bros., appearing in bits in such films as Edge of Darkness (1943) and Mission to Moscow (1944). As a free-lance actress, Christine played the female lead in The Mummy's Curse (1945), a picture she later described as "ghastly." Maturing into a much-in-demand character actress, Christine appeared in four Stanley Kramer productions: The Men (1950), Not as a Stranger (1955), Judgment at Nuremberg (1961) and Guess Who's Coming to Dinner (1967). Other movie assignments ranged from the heights of Invasion of the Body Snatchers (1956) to the depths of Billy the Kid Meets Dracula (1978). To a generation of Americans who grew up in the 1960s and 1970s, Christine will forever be Mrs. Olson, the helpful Swedish neighbor in scores of Folger's Coffee commercials.

Trivia: Beginning his stage career in his native Holland in 1927, Phil Van Zandt moved to America shortly afterward, continuing to make theatrical appearances into the late '30s. From his first film (Those High Gray Walls [1939]) onward, the versatile Van Zandt was typed as "everyday" characters whenever he chose not to wear his mustache; with the 'stache, however, his face took on a sinister shade, and he found himself playing such cinematic reprobates as evil caliphs, shady attorneys, and heartless Nazis. Because of deliberately shadowy photography, the audience barely saw Van Zandt's face at all in one of his best roles, as the Henry Luce-like magazine editor Rawlston in Orson Welles' Citizen Kane (1941). Though many of his feature-film assignments were bits, Van Zandt was permitted generous screen time in his many appearances in two-reel comedies. Beginning with the Gus Schilling/Dick Lane vehicle Pardon My Terror (1946), Van Zandt was a fixture at the Columbia Pictures short subjects unit, usually playing crooks and mad scientists at odds with the Three Stooges. He established his own acting school in Hollywood in the 1950s, though this and other ventures ultimately failed. Philip Van Zandt died of a drug overdose at the age of 54.

Trivia: Actor/writer Paul Dubov did his first film work as a Universal contract player in 1942. Never a leading man, Dubov was the quintessential utility player, able to convey characters of virtually any age or ethnic range. He played sizeable roles in such modestly budgeted sci-fiers as The She Creature (1956), Atomic Submarine (1959) and The Underwater City (1960). In the early 1960s, he was given his first screenwriting opportunities through the auspices of Four Star Productions, headed by Dick Powell. With his wife Gwen Bagni, Dubov created and developed the Four Star TV series Honey West (1965), starring Anne Francis as a gadget-happy private eye. Paul Dubov's final screenplay credit, again in collaboration with Gwen Bagni, was the 1979 TV miniseries Backstairs at the White House.

Trivia: Character actor John Crawford has appeared on screen in many films since 1945.

Trivia: Born in San Francisco, Jerry Paris was a graduate of New York University and UCLA, and joined the Actors Studio after serving in the navy during World War II. His earliest stage performances were in productions of Medea, Anna Christie, and The Front Page. He entered films in 1950, and his early screen credits include Outrage, Cyrano de Bergerac, The Wild One, The Caine Mutiny, Marty, and The Naked and the Dead. Paris was also a regular on the series The Untouchables from 1959 thru 1961 in the role of G-man Martin Flaherty. In 1961, he joined the cast of The Dick Van Dyke Show as Jerry Helper, the next door neighbor to Rob and Laura Petrie. During the early run of the show, Paris began pestering producer Carl Reiner for a chance to direct, and was given his opportunity in 1962 with the classic episode "It May Look Like a Walnut," a comic take on science fiction chillers that was highlighted by the spectacle of costar Mary Tyler Moore sliding out of a closet filled with 1100 pounds of walnuts. Paris became a regular director on the show and won and Emmy in 1964 for his work. He subsequently went into feature filmmaking, including Viva Max and The Star-Spangled Girl, before returning to television, directing the pilot episode of Love American Style. He directed 35 episodes of The Odd Couple, and later spent a decade as producer and director of Happy Days, as well as directing the pilot episode of Laverne and Shirley. Paris created the character of Mork, played by Robin Williams, who was later spun off into the series Mork and Mindy. Paris returned to feature filmmaking in the late '80s with Police Academy 2 and Police Academy 3. He died in 1993 after a long struggle with cancer.

Trivia: José Ferrer (born José Vincente Ferrer de Otero y Cintron in Puerto Rico) decided to become an actor while in college. Early in his career he appeared with James Stewart and Joshua Logan at the Triangle Theater. In 1935 he debuted on Broadway with a walk-on part; he soon began to land bigger roles and quickly established his reputation as a highly versatile actor, performing in roles ranging from the comic title role in Charlie's Aunt to the evil Iago in Othello, and he began directing Broadway productions in 1942. Ferrer debuted onscreen as the Dauphin opposite Ingrid Bergman in Joan of Arc (1948), for which he received a "Best Supporting Actor" Oscar nomination. He later became internationally famous, and won a "Best Actor" Oscar for reprising his theatrical lead in the film version of Cyrano de Bergerac (1950). Ferrer earned another Oscar nomination for his portrayal of painter Toulouse-Lautrec in Moulin Rouge (1952). While both roles definitely enhanced his career, he later complained that they lead him to become typecast, and sometimes went years between film offers. In the mid-'50s he began directing films (usually ones in which he appeared), starting with The Shrike (1955). Also in the mid-'50s he made several successful recordings with his third wife, singer Rosemary Clooney. After 1962 he gave up directing and concentrated on stage and screen character acting, usually being typecast in his films as a swarthy foreigner. He continued to appear frequently in films into the '90s, meanwhile doing much TV work. His first wife was actress Uta Hagen.

Trivia: Slight, owlish American actor Francis Pierlot made his film debut in 1914, but it wasn't until 1931 that he abandoned the stage to settle permanently in Hollywood. Pierlot generally essayed minor roles, showing up briefly but memorably as scores of judges, professors, priests, and orchestra leaders. Film buffs have a special place in their hearts for the actor's sly portrayal of lovable pyromaniac Nero Smith in 1942's Henry Aldrich, Editor. Francis Pierlot made his final screen appearance in a surprisingly sizeable role as Jean Simmons' manservant in the 1953 biblical epic The Robe.

Trivia: Bald, hook-nosed character actor John Harmon launched his film career in 1939. Harmon's screen assignments ranged from shifty-eyed gangsters, rural law enforcement officials and hen-pecked husbands. He was seen in films as diverse as Chaplin's Monsieur Verdoux (1947) and the "B" horror flick Monster of Piedra Blancas. Star Trek fans will remember John Harmon for his supporting role in the 1967 episode "City on the Edge of Forever."