Trivia: In an industry of prima donnas, actress Barbara Stanwyck was universally recognized as a consummate professional; a supremely versatile performer, her strong screen presence established her as a favorite of directors, including Cecil B. De Mille, Fritz Lang, and Frank Capra. Born Ruby Stevens July 16, 1907, in Brooklyn, NY, she was left orphaned at the age of four and raised by her showgirl sister. Upon quitting school a decade later, she began dancing in local speakeasies and at the age of 15 became a Ziegfeld chorus girl. In 1926, Stanwyck made her Broadway debut in The Noose, becoming a major stage star in her next production, Burlesque. MGM requested a screen test, but she rejected the offer. She did, however, agree to a supporting role in 1927's Broadway Nights, and after completing her stage run in 1929 appeared in the drama The Locked Door. With her husband, comedian Frank Fay, Stanwyck traveled to Hollywood. After unsuccessfully testing at Warner Bros., she appeared in Columbia's low-budget Mexicali Rose, followed in 1930 by Capra's Ladies of Leisure, the picture which shot her to stardom. A long-term Columbia contract was the result, and the studio soon loaned Stanwyck to Warners for 1931's Illicit. It was a hit, as was the follow-up Ten Cents a Dance. Reviewers were quite taken with her, and with a series of successful pictures under her belt, she sued Columbia for a bigger salary; a deal was struck to share her with Warners, and she split her time between the two studios for pictures including Miracle Woman, Night Nurse, and Forbidden, a major hit which established her among the most popular actresses in Hollywood. Over the course of films like 1932's Shopworn, Ladies They Talk About, and Baby Face, Stanwyck developed an image as a working girl, tough-minded and often amoral, rarely meeting a happy ending; melodramas including 1934's Gambling Lady and the following year's The Woman in Red further established the persona, and in Red Salute she even appeared as a student flirting with communism. Signing with RKO, Stanwyck starred as Annie Oakley; however, her contract with the studio was non-exclusive, and she also entered into a series of multi-picture deals with the likes of Fox (1936's A Message to Garcia) and MGM (His Brother's Wife, co-starring Robert Taylor, whom she later married).For 1937's Stella Dallas, Stanwyck scored the first of four Academy Award nominations. Refusing to be typecast, she then starred in a screwball comedy, Breakfast for Two, followed respectively by the downcast 1938 drama Always Goodbye and the caper comedy The Mad Miss Manton. After the 1939 De Mille Western Union Pacific, she co-starred with William Holden in Golden Boy, and with Henry Fonda she starred in Preston Sturges' outstanding The Lady Eve. For the 1941 Howard Hawks comedy Ball of Fire, Stanwyck earned her second Oscar nomination. Another superior film, Capra's Meet John Doe, completed a very successful year. Drama was the order of the day for the next few years, as she starred in pictures like The Gay Sisters and The Great Man's Lady. In 1944, she delivered perhaps her most stunning performance in Billy Wilder's classic noir Double Indemnity. Stanwyck's stunning turn as a femme fatale secured her a third Oscar bid and helped make her, according to the IRS, the highest-paid woman in America. It also won her roles in several of the decade's other great film noirs, including 1946's The Strange Love of Martha Ivers and 1949's The File on Thelma Jordon. In between, Stanwyck also starred in the 1948 thriller Sorry, Wrong Number, her final Academy Award-nominated performance. The 1950s, however, were far less kind, and strong roles came her way with increasing rarity. With Anthony Mann she made The Furies and with Lang she appeared opposite Marilyn Monroe in 1952's Clash by Night, but much of her material found her typecast -- in 1953's All I Desire, she portrayed a heartbroken mother not far removed from the far superior Stella Dallas, while in 1954's Blowing Wild she was yet another tough-as-nails, independent woman. Outside of the all-star Executive Suite, Stanwyck did not appear in another major hit; she let her hair go gray, further reducing her chances of winning plum parts, and found herself cast in a series of low-budget Westerns. Only Samuel Fuller's 1957 picture Forty Guns, a film much revered by the Cahiers du Cinema staff, was of any particular notice. It was also her last film for five years. In 1960, she turned to television to host The Barbara Stanwyck Show, winning an Emmy for her work.Stanwyck returned to cinemas in 1962, portraying a lesbian madam in the controversial Walk on the Wild Side. Two years later, she co-starred with Elvis Presley in Roustabout. That same year, she appeared in the thriller The Night Walker, and with that, her feature career was over. After rejecting a role in Hush...Hush, Sweet Charlotte, she returned to television to star in the long-running Western series The Big Valley, earning another Emmy for her performance as the matriarch of a frontier family. Upon the show's conclusion, Stanwyck made a TV movie, The House That Would Not Die. She then appeared in two more, 1971's A Taste of Evil and 1973's The Letters, before vanishing from the public eye for the remainder of the decade. In 1981, she was awarded an honorary Oscar; two years later, she was also the recipient of a Lincoln Center Life Achievement Award. Also in 1983, Stanwyck returned to television to co-star in the popular miniseries The Thorn Birds. Two years later, she headlined The Colbys, a spin-off of the hugely successful nighttime soap opera Dynasty. It was her last project before retiring. Stanwyck died January 20, 1990.

Trivia: Pressured by his father to become a policemen like all five of his brothers, American actor Michael O'Shea defied his dad by dropping out of school at age 12, then entered vaudeville in an act with his idol, boxer Jack Johnson. Working the Prohibition years as a comic and emcee in speakeasies, O'Shea organized his own dance band, Michael O'Shea and His Stationary Gypsies. Adopting the professional name Eddie O'Shea, the actor spent the '30s in stock companies and in radio, until accruing good reviews for his 1942 Broadway appearance in The Eve of St. Mark. Somewhat reluctantly, O'Shea entered movies on the strength of his stage work; the one Michael O'Shea film that seems to get the most circulation today is Lady Of Burlesque (1943) in which he played a red-nosed burleyque comic who was the erstwhile boyfriend of stripper Barbara Stanwyck. Bouncing back and forth between Broadway and movies, O'Shea never quite became a star, though he did manage to marry one: Virginia Mayo, with whom he'd appeared in the 1943 film Jack London. O'Shea's film work in the '50s was acceptable, but he was shown to better advantage in the 1955 TV sitcom, It's A Great Life, which though no hit had a great second life in reruns. According to an interview given in 1972 Michael O'Shea fulfilled his father's "policeman" wishes after a fashion by working as an operative for the FBI in the mid '60s, helping to break up a gambling ring plaguing O'Shea's home turf of Ventura County, California.

Trivia: Trained as a dancer by Marge Champion's father Ernest Belcher, Iris Adrian began her performing career at age 13 by winning a "beautiful back" contest. Working as a New York chorus girl (she briefly billed herself as "Jimmie Joy"), Iris's big break came with the 1931 edition of The Ziegfeld Follies, which led to featured nightclub and comedy revue work in the U.S. and Europe. In the Kaufman/Hart Broadway play The Fabulous Invalid, Adrian raised the temperatures of the tired businessmen in the audiences by performing a strip-tease--this at a time (the late 1930s) when the standard burlesque houses had been banned from New York by Mayor LaGuardia. Brought to films by George Raft, Adrian made her first screen appearance in Raft's 1934 vehicle Rhumba. This led to dozens of supporting roles in subsequent feature films; Iris' standard characterization at this time was the brassy, gold-digging dame who never spoke below a shout. Often appearing in one-scene bits, Adrian received more sizeable roles in Laurel and Hardy's Our Relations (1936), Bob Hope's The Paleface (1948), Milton Berle's Always Leave Them Laughing (1949) and Jerry Lewis' The Errand Boy (1961). Through the auspices of director William Wellman, who had a fondness for elevating character actors to larger roles, Adrian gave a rollicking performance as Bonnie Parker wannabe Two Gun Gertie in 1942's Roxie Hart. She launched her TV career in 1949 on Buster Keaton's LA-based weekly comedy series. Some of her most memorable work for the small screen was on the various TV programs of Jack Benny, Adrian's favorite comedian and co-worker. Throughout the 1960s and 1970s, Iris Adrian kept very active in the comedy films of the Walt Disney studio, including That Darn Cat (1965) and The Love Bug (1968); and in 1978, she was superbly cast in the regular role of the sarcastic secretary for a New York escort service on The Ted Knight Show.

Trivia: Born in Hungary, actor J. Edward Bromberg moved with his family to the US while still an infant. Bromberg was certain from an early age that he would pursue an acting career, taking several odd jobs (silk salesman, candy maker, laundry worker) to finance his training. He studied with the Moscow Art Theatre, then made his American stage bow at age 23 at the Greenwich Village Playhouse. The corpulent Bromberg conveyed a perpetual air of ulcerated, middle-aged tension, allowing him to play characters much older than himself. He worked extensively with the Theatre Guild, coming to Hollywood's attention for his work in the 1934 Pulitzer Prize winning play Men in White. With 1936's Under Two Flags, Bromberg began his long association with 20th Century-Fox, playing a vast array of foreign villains, blustering buffoons and the occasional gentle philosopher. He made a triumphant return to Broadway in 1948 as a Louis Mayer-like movie mogul in Clifford Odets' The Big Knife, but the euphoria would not last. Accused of being a Communist sympathizer, Bromberg was blacklisted from Hollywood and forced to seek work in England. Though only 47 when he fled the country, Bromberg looked twenty years older due to the strain of withstanding the accusations of the witchhunters. J. Edward Bromberg died in London in 1951, at age 48; the reason given was "natural causes," since a broken heart is not officially regarded as a fatal condition.

Trivia: American actress Gloria Dickson, born Thais Dickerson in Pocatello, Idaho, began acting in stock and touring companies when she was only twelve. In 1937 she made her feature-film debut in Mervyn LeRoy's They Won't Forget. As a contract player for Warner Bros, she went on to play leads in minor films and supporting leads in "A" movies. Tragically, at the age of 28, Gloria Dickson died in a fire at her home.

Trivia: Charles Dingle began acting in the first decade of the 20th century, and stayed at it until his last performance in 1955's The Court Martial of Billy Mitchell. His forte was playing brusque, seemingly above-reproach businessmen who'd sell their grandmothers to close a shady financial deal. Though he'd been cast in the New York-filmed One Third of a Nation (1939), Dingle's "official" movie debut was in 1941's The Little Foxes, recreating his stage role as the duplicitous Ben Hubbard. In this and many other film assignments, Charles Dingle lived up to critic Bosley Crowther's succinct description: "a perfect villain in respectable garb."

Trivia: American actress Stephanie Bachelor began performing on stage at age 14. After a stint as a model, she went on to appear in programmers during the 1940s. She was typically cast as the sophisticated and slightly evil "other woman."

Trivia: The brassiest platinum blonde of them all, Marion Martin turned up in numerous films of the 1930s and 1940s, usually only for a moment or two but long enough to make an impression. Reportedly hailing from Philadelphia's Main Line, Martin had made her Broadway bow in a 1927 revival of Lombardi Ltd. but was rather more noticeable in burlesque where she vowed 'em with a voluptuous body and with a throaty singing voice to match. She began popping up in films around 1935 and went on to play a host of characters named Blondie, Fifi, Lola, and Dixie, rarely awarded a last name and usually only a line or two. But she almost always made the line count, as in Sinner in Paradise (1938), when he-man Bruce Cabot introduces himself with a terse "the name is Malone." "Does it make you happy," she quips, with that bored look she had come to favor. Martin's screen career lasted well into the 1950s but by then her once-statuesque build had turned quite blowsy. In her later years as the wife of a Southern California physician, she occasionally expressed a desire to return to show business but no projects materialized.

Trivia: The embodiment of corporate dignity, British actor Frank Conroy nonetheless gave the impression of being a long-trusted executive who was about to abscond with the company funds. During his Broadway career, Conroy frequently achieved above-the-title billing; he never quite managed this in Hollywood, but neither was he ever without work. Conroy made his first film, Royal Family of Broadway, in 1930; uncharacteristically, he plays the ardent suitor of the leading lady (Ina Claire), and very nearly wins the lady before she decides that her stage career comes first. Conroy's respectable veneer allowed him to play many a "hidden killer" in movie mysteries like Charlie Chan in Egypt (1935). He left films periodically for more varied assignments on stage; in 1939, he originated the role of dying millionaire Horace Giddens in Lillian Hellmans The Little Foxes. Returning to Hollywood in the 1940s, it was back to authoritative villainy, notably his role in The Ox-Bow Incident as a martinet ex-military officer who rigidly supervises a lynching, then kills himself when he realizes he's executed three innocent men. More benign roles came Conroy's way in All My Sons (1948), in which he plays an industrialist serving a prison sentence while the guilty man (Edward G. Robinson) walks free; and in Day the Earth Stood Still (1951), wherein Conroy has a lengthy unbilled role as the American diplomat who listens to the demands of outer-space visitor Michael Rennie. Frank Conroy remained a top character player until his retirement in 1960, usually honored with "guest star" billing on the many TV anthologies of the era.

Trivia: A seasoned vaudeville and burlesque comedian, Lew Kelly came to films in 1929. The wizened, pop-eyed Kelly quickly became a comedy "regular," appearing in support of such star comics as Laurel & Hardy, W.C. Fields, and Wheeler and Woolsey. In dramatic films, Kelly could be found in bit parts as night watchmen, bartenders and doctors; one of his best roles of the 1940s was the derelict drunken doc in Bela Lugosi's Bowery at Midnight. Throughout the 1930s and 1940s, Lew Kelly worked steadily in two-reelers, appearing with the likes of Charley Chase, Andy Clyde, Harry Langdon and the Three Stooges.

Trivia: Brassy, bleached-blonde Claire Carleton was a reliable supporting actress on Broadway, in films and on TV for nearly thirty years. Carleton's New York stage credits include The Body Beautiful, 20th Century and The Women. In films, she was usually cast as"B"-girls, strippers, gum-chewing manicurists and divorce correspondents: her character names were generally along the lines of Mamie, Tessie, Nellie or simply "The Blonde." She was afforded leading roles in the two-reelers of such comedians as The Three Stooges and Leon Errol, entering into the slapstick proceedings with relish and abandon: in the 1946 Columbia short Headin' for a Weddin', Carleton has a light bulb broken in her mouth, and in the final scene engages in a knock-down, drag-out fight with star Vera Vague. A frequent TV performer, Claire Carleton co-starred as Mickey Rooney's mother (she was eight years older than he!) in the 1955 sitcom Hey, Mulligan!, and played Alice Purdy on the 1958 western Cimarron City.

Trivia: Tall, outgoing American actress Janis Carter had initially planned to become a concert pianist, but switched her interests to opera while attending Western Reserve University. She worked steadily on Broadway in such musicals as DuBarry Was a Lady and Panama Hattie, the latter musical winning her a 20th Century-Fox contract. Curiously, Janis sang only in her first film, Cadet Girl. Thereafter, she was shunted off to comedy-relief and "other woman" roles. Her best screen performance was as the hard-boiled anti-heroine in the Columbia noir programmer Framed (1947). Janis Carter and the movie industry parted company in 1952, after which she focused her energies upon television; from 1954 through 1956, Janis and Bud Collyer co-hosted the daytime quiz show Feather Your Nest.

Trivia: While attending the medical school of Columbia University, Gerald Mohr was offered an opportunity to audition as a radio announcer. The upshot of this was a job at CBS as the network's youngest reporter. He moved to the Broadway stage upon landing a role in The Petrified Forest. Shortly afterward, he became a member of Orson Welles' Mercury Theatre. He was chosen on the basis of his voice alone for his first film role as a heavily disguised phony mystic in Charlie Chan at Treasure Island (1939). Following wartime service, the dark, roguish Mohr was selected to play thief-turned-sleuth the Lone Wolf in Columbia's B-picture series of the same name. His detective activities spilled over into radio, where Mohr starred as Philip Marlowe, and TV, where in 1954 he was cast as Bogart-like café owner Chris Storm on the final season of the syndicated Foreign Intrigue. Gerald Mohr died at the age of 54, shortly after playing a crooked gambler in Funny Girl (1968).

Trivia: Diminutive character actor Lou Lubin enjoyed a career of about a dozen years in movies and early television, as well as radio work. As is the case with most character players, he usually got small roles in big pictures and more substantial roles in small-scale productions. Lubin's short stature and distinctly urban accent made him ideal for playing henchmen and other shady, disreputable characters, although he also turned up on the side of the angels from time to time -- his most memorable part was in Val Lewton's production of The Seventh Victim (1943), as a seedy private eye who loses his life trying to do something decent and then turns up as a corpse on a subway. That same year, he was also given a fair amount of screen time in William Wellman's Lady of Burlesque as Moey the candy butcher. And in 1945, he was seen in Max Nosseck's Dillinger as the luckless waiter who gets on the wrong side of Lawrence Tierney's John Dillinger and receives savage vengeance for his trouble. Lubin's had been out of pictures for 20 years at the time of his death in 1973, at age 77.

Trivia: Actor Lee Trent played small parts in many Hollywood films of the '40s and '50s. After that he became a successful business man and a chairman of United Way Charities.

Trivia: Comic actor George Chandler entered the University of Illinois after World War I service, paying for his education by playing in an orchestra. He continued moonlighting in the entertainment world in the early 1920s, working as an insurance salesman by day and performing at night. By the end of the decade he was a seasoned vaudevillian, touring with a one-man-band act called "George Chandler, the Musical Nut." He began making films in 1927, appearing almost exclusively in comedies; perhaps his best-known appearance of the early 1930s was as W.C.Fields' prodigal son Chester in the 1932 2-reeler The Fatal Glass of Beer. Chandler became something of a good-luck charm for director William Wellman, who cast the actor in comedy bits in many of his films; Wellman reserved a juicy supporting role for Chandler as Ginger Rogers' no-good husband in Roxie Hart (1942). In all, Chandler made some 330 movie appearances. In the early 1950s, Chandler served two years as president of the Screen Actors Guild, ruffling the hair of many prestigious stars and producers with his strongly held political views. From 1958 through 1959, George Chandler was featured as Uncle Petrie on the Lassie TV series, and in 1961 he starred in a CBS sitcom that he'd helped develop, Ichabod and Me.

Trivia: Danish-born actor Kit Guard came to prominence in the mid 1920s as a regular in a trio of 2-reel comedy series: "The Go-Getters," "The Pacemakers" and "Bill Grimm's Progress." Guard appeared in at least 200 feature films, usually cast as sailors, barflies and foreign legionnaires. Usually unbilled, he managed to attain screen credit in the 1931 Ronald Colman vehicle The Unholy Garden and as Dinky in the 1940 Columbia serial The Green Archer. Kit Guard made his last fleeting film appearance in Carrie (1952).

Trivia: Bald-domed, prominently chinned American character actor Joe Devlin was seen in bits in major films, and as a less-costly Jack Oakie type in minor pictures. Devlin usually played two-bit crooks and sarcastic tradesmen in his 1940s appearances. The actor's uncanny resemblance to Benito Mussolini resulted in numerous "shock of recognition" cameos during the war years, as well as full-fledged Mussolini imitations in two Hal Roach "streamliners," The Devil With Hitler (1942) and That Nazty Nuisance (1943). In 1950, Joe Devlin was cast as Sam Catchem in a TV series based on Chester Gould's comic-strip cop Dick Tracy.

Trivia: Diminutive, baby-faced actress Noel Neill entered films as a Paramount starlet in 1942. Though she was showcased in one of the musical numbers in The Fleet's In (1944) and was starred in the Oscar-nominated Technicolor short College Queen (1945), most of her Paramount assignments were thankless bit parts. She fared better as one of the leads in Monogram's Teen Agers series of the mid- to late '40s. In 1948 she was cast as intrepid girl reporter Lois Lane in the Columbia serial The Adventures of Superman, repeating the role in the 1950 chapter play Atom Man vs. Superman. At the time, she regarded it as just another freelance job, perhaps a little better than her cameos in such features as An American in Paris (in 1951 as the American art student) and DeMille's The Greatest Show on Earth (1953). But someone was impressed by Neill's appealingly vulnerable interpretation of Lois Lane, and in 1953 she was hired to replace Phyllis Coates as Lois in the TV version of Superman. She remained with the series for 78 episodes, gaining an enormous fan following (consisting primarily of ten-year-old boys) if not a commensurately enormous bank account. Retiring to private life after the cancellation of Superman in 1958, she was brought back into the limelight during the nostalgia craze of the 1970s. She made countless lecture appearances on the college and film convention circuit, and in 1978 returned to films as Lois Lane's mother in the big-budget Superman: The Movie: alas, most of her part ended up on the cutting-room floor, and neither she nor fellow Adventures of Superman alumnus Kirk Alyn received billing. Noel Neill's last TV appearance to date was a guest spot in a 1991 episode of the syndicated The Adventures of Superboy; she made a cameo appearance in 2006's Superman Returns. Neill died in 2016, at age 95.

Trivia: Isabel Withers entered films as an ingénue in 1916. Wither's movie career proper began in the talkie era, when she established herself as a character actress. For nearly 25, years she could be seen filling such small functionary roles as maids, nurses, and secretaries. An occasional visitor to Columbia pictures, Isabel Withers co-starred with such two-reel comics as Andy Clyde and Hugh Herbert, and was cast as Harriet Woodley in the valedictory Blondie entry Beware of Blondie (1950).

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."