Trivia: In little more than a year's time and after appearing in only three feature films, James Byron Dean became one of the most admired screen stars of all time, achieving cult status and becoming an icon of American culture. The son of a dental technician, Dean was born in Marion, IN, an unprepossessing Midwestern burg that has since become a shrine to Dean aficionados. At five, Dean moved to Los Angeles with his family. Four years later, his mother died, and he was returned to the Midwest, to be cared for by relatives on their Fairmount, IN, farm. Upon graduation from high school, he returned to California and attended Santa Monica Junior College and U.C.L.A., later gravitating to acting, first with James Whitmore's workshop group, then in television commercials. His earliest existing film appearance was as one of Christ's apostles in "Hill Number One," a 1951 episode of the TV religious series Family Theatre. Working as a busboy between acting engagements in New York, he was given his first Broadway break in the short-lived The Jaguar. Dean soon began receiving uncredited bit parts in Hollywood films, the most prominent of which was his tongue-twisting turn as a soda emporium customer in Universal's Has Anybody Seen My Gal? (1952). Then it was back to New York, where he observed classes at the Actors' Studio. While making a few scattered live-TV appearances, Dean paid the bills by working as a "test pilot" on the audience-participation series Beat the Clock, walking through the various stunts in rehearsal to see if "normal" people could perform them during the telecast. Upon being cast in the Broadway play The Immoralist, he was compelled to give up his Beat the Clock job to another aspiring actor, Warren Oates.Creating a sensation as an Arab gigolo in The Immoralist, Dean came to the attention of director Elia Kazan, who'd previously brought the "Method" to the masses by casting Marlon Brando in A Streetcar Named Desire (1951) and Viva Zapata! (1952). Sensing an embryonic Brando in Dean, Kazan cast the sensitive young actor as Cal Trask in the 1955 film adaptation of Steinbeck's East of Eden. Playing a hell-raising teenager who yearned openly and unashamedly to be loved and accepted by his rigid and taciturn father (Raymond Massey), Dean "spoke" to the disenfranchised youth of the Eisenhower era far more eloquently than any previous actor. Dean carried his loner persona over into his next film, Rebel Without a Cause (1955). Even after four decades, this Nicholas Ray-directed film remains the quintessential misunderstood-teen flick. While Rebel was in production, East of Eden hit the theaters, stirring up the first signs of Dean's staggering popularity -- what would later become the "James Dean Cult." Knowing they had a gold mine on their hands, Warner Bros. instantly upped the budget of Rebel, scrapping the black-and-white footage that had already been shot and starting the whole project over in color and Cinemascope. Now committed to a seven-year contract at Warners, Dean was afforded third billing to Rock Hudson and Elizabeth Taylor in Giant, director George Stevens' epic cinemazation of Edna Ferber's best-seller. As Jett Rink, Dean once more played the brooding outsider, this time separated from his heart's desire by his lowly station in life. Even when cast in a villainous light, however, Dean remains the most fascinating presence in the film, especially in his brilliantly choreographed climactic drunk scene. Dean plays the cast-off loner in all three of his starring features, unable to draw attention to himself until forcing the issue. Off camera, Dean unfortunately possessed a fascination with fast cars. Upon completing Giant, he piled into his new 7,000 dollar Porsche and zoomed off to a racing event in Salinas. Traveling 115 miles an hour, Dean was killed in a head-on crash just outside Paso Robles, CA. The hysterical outpouring of grief that attended his death had not been witnessed by the motion picture community since the demise of Rudolph Valentino in 1926. The cult worship of James Dean assumed a variety of shapes, sizes, and degrees. Book upon book has been written about Dean's short life; original poster art from his films has been auctioned off at astronomical prices and two full-length biopics have been produced: the hastily cobbled together The James Dean Story (1957) and the made-for-TV James Dean (1976), the latter project based on the memoirs of Dean's roommate, James Bast, and starring Stephen McHattie. After Dean's death, two of the actor's scheduled post-Giant projects, the 1955 TV musical adaptation of Our Town and the 1956 Rocky Graziano biopic Somebody Up There Likes Me, were both re-cast with Paul Newman. It is quite possible that the James Dean mystique, which persists to the present day, might not have been as intense had he lived longer, but like so many others untimely ripped from our midst -- Jean Harlow, Marilyn Monroe, John Lennon -- James Dean has transcended mere idol status and entered the hallowed halls of Legend.

Trivia: Born to Russian-immigrant parents, Natalie Wood made her first film appearance at age four as an extra in Happy Land (1943). When she was promoted to supporting roles, the young Wood was well prepared for the artistic discipline expected of her: She'd been taking dancing lessons since infancy. By 1947, she earned up to a thousand dollars per week for such films as Miracle on 34th Street. She made a reasonably smooth transition to grown-up roles, most notably as James Dean's girlfriend in Rebel Without a Cause (1955) and Warren Beatty's steady in Splendor in the Grass (1961). She was also a regular on the 1953 sitcom Pride of the Family, playing the teenaged daughter of Paul Hartman and Fay Wray. Despite being romantically linked with several of her leading men, Wood settled down to marriage relatively early, wedding film star Robert Wagner in 1957. The union didn't last, and she and Wagner were divorced in 1962. Continuing to star in such important films as West Side Story (1961), Gypsy (1963), Inside Daisy Clover (1967), and Bob and Carol and Ted and Alice (1969), Wood always managed to bounce back from her numerous career setbacks, and in 1971, after an interim marriage to screenwriter Richard Gregson, Wood remarried Robert Wagner, this time for keeps. Opinions of her acting ability varied: Her adherents felt that she was one of Hollywood's most versatile stars, while her detractors considered her to be more fortunate than talented. The Oscar people thought enough of Wood to nominate her three times, for Rebel Without a Cause, Splendor in the Grass, and Love With the Proper Stranger (1963). In the midst of filming the 1981 sci-fier Brainstorm, 43-year-old Natalie Wood drowned in a yachting accident just off Catalina Island. Among her survivors was her sister, actress Lana Wood.

Trivia: Short and intense Sal Mineo was a sad-eyed juvenile and adult actor with black curls. At age eight his misbehavior caused him to be kicked out of a parochial school; he went on to attend dancing classes and two years later was cast in Broadway's The Rose Tattoo, moving from there to a prominent adolescent role in The King and I with Yul Brynner. Mineo debuted onscreen in 1955 and for the next decade he was a busy screen actor, first in juvenile roles and then in youthful leads; his characters were often troubled. For his work at age 16 in Rebel Without a Cause (1955), his third feature, he received a Best Supporting Actor Oscar nomination; he was nominated in the same category for Exodus (1960). His film work began to dry up after the mid-'60s and Mineo turned to TV and the stage. He directed the play Fortune and Men's Eyes on the West Coast and on Broadway. He was stabbed to death on the street in 1976.

Trivia: Ohio-born actor Jim Backus's stage career began in summer stock, where, according to his then-roommate Keenan Wynn, he was as well known for his prowess with the ladies as he was for his on-stage versatility. Backus continued acting in New York, vaudeville, and especially radio in the 1930s and 1940s. He was a regular on radio's The Alan Young Show, portraying Eastern Seaboard snob Hubert Updike III, the prototype for his "Thurston Howell III" characterization on the 1960s TV sitcom Gilligan's Island. In 1949, Backus provided the voice of the nearsighted Mr. Magoo for the first time in the UPA cartoon Ragtime Bear; the actor later claimed that he based this character on his own businessman father. Also in 1949, Backus made his first film appearance in Easy Living, which starred his childhood friend Victor Mature. Backus' most famous screen role was as James Dean's weak-willed, vacillating father in Rebel without a Cause. On television, Backus co-starred with Joan Davis on the I Love Lucy-like 1950s sitcom I Married Joan, and played the leading role of fast-talking news service editor Mike O'Toole on the 1960 syndicated series Hot Off the Wire (aka The Jim Backus Show). In the 1960s, Backus continued to provide the voice of Mr. Magoo in several TV projects, and was seen on-camera in the aforementioned Gilligan's Island, as well as the 1968 TV version of Blondie, wherein Backus played Mr. Dithers. Co-starring as Mrs. Dithers was Backus' wife Henny, who also collaborated with her husband on several amusing volumes of memoirs. Jim and Henny Backus' last two books, Backus Strikes Back and Forgive Us Our Digressions, commented humorously on a deadly serious subject: Parkinson's Disease, the ailment which would eventually cost Backus his life at the age of 76.

Trivia: A sadly neglected supporting actress, Ann Doran played everything from Charley Chase's foil in Columbia two-reelers of the late '30s to James Dean's mother in Rebel Without a Cause (1955) and also guest starred in such television shows as Superman, Petticoat Junction, Bewitched, and The A Team. A former child model and the daughter of silent screen actress Rose Allen (1885-1977), Doran made her screen bow in Douglas Fairbanks' Robin Hood (1922) but then spent the next 12 years or so getting herself an education. She returned to films in 1934 and joined the Columbia short subject department two years later. While with Columbia, Doran worked on all of Frank Capra's films save Lost Horizon (1937) and she later toiled for both Paramount and Warner Bros., often receiving fine reviews but always missing out on the one role that may have made her a star. Appearing in more than 500 films and television shows (her own count), Doran worked well into the 1980s, often unbilled but always a noticeable presence.

Trivia: An ingenue of the 1930s, Rochelle Hudson insisted to interviewers that her career was due to a "friend of a friend of a friend" of her mother's, who happened to have connections with Fox film studios. Signed to a Fox contract in 1930, Hudson studied with the studio's voice coach, who farmed the girl out for singing work on radio and in cartoons; Hudson was briefly the voice of Honey in Warner Bros.' "Bosko" cartoons. Her first on-camera appearance, on loanout to RKO, was in Fanny Foley Herself. Though often stuck in girl-next-door parts, Hudson was also effectively cast as tomboys and slatterns. She appeared in several Will Rogers pictures, mainly because Rogers liked sharing the spotlight with actors from his home state of Oklahoma. Her career dwindling into "B"-picture leads at Columbia and PRC, Hudson left Hollywood in 1942, spending the war years working in Naval Intelligence with her first husband, reserve officer (and former Disney story editor) Hal Thompson. She returned to films in 1955 to play the mother of Natalie Wood in Rebel Without A Cause. Though her subsequent movie appearances were infrequent, she kept busy on television, co-starring on the 1954 sitcom That's My Boy and showing up on many an anthology series. Retiring from show business for good in 1967, Rochelle Hudson spent her last years as a successful real estate agent.

Trivia: The son of legendary Broadway actor DeWolfe Hopper and movie actress Hedda Hopper, William Hopper made his film debut as an infant in one of his father's films. The popular consensus is that the younger Hopper was given his first talking-picture break because of his mother's reputation as the most feared of the Hollywood gossips. Not so: Hopper was signed to his first Warner Bros. contract in 1937, a year or so before Hedda had established herself as the queen of the dirt-dishers. At first billing himself as DeWolfe Hopper Jr., Hopper languished in bit parts and walk-ons for several years. He wasn't able to graduate to better roles until the 1950s, by which time he was calling himself William Hopper. After a largely undistinguished film career (notable exceptions to his usual humdrum assignments were his roles in 20 Million Miles to Earth [1957] and The Bad Seed [1956]) Hopper finally gained fame -- and on his own merits -- as private detective Paul Drake on the enormously popular Perry Mason television series, which began its eight-season run in 1957. In a bizarre coincidence, Perry Mason left the air in 1966, the same year that William Hopper's mother Hedda passed away.

Trivia: Born in Cleveland, Corey Allen began acting while attending UCLA. A proponent of "The Method," Allen found himself in the company of several like-minded young actors in his first film of consequence, Rebel Without a Cause (1955). Allen played Buzz, the high-school ringleader who dies horribly during the "chickie run" with James Dean. Though Buzz became a comparatively sympathetic character before his screen demise, producers tended to think of Allen as a surly, punkish type, and cast him accordingly. Frustrated with being typecast, Allen turned director in 1962. Corey Allen's theatrical-film directorial efforts were hardly Oscar calibre (have you seen The Erotic Adventures of Pinocchio?), but his TV work was n quite impressive, enough so to earn him an Emmy award.

Trivia: The odyssey of Dennis Hopper was one of Hollywood's longest, strangest trips. A onetime teen performer, he went through a series of career metamorphoses -- studio pariah, rebel filmmaker, drug casualty, and comeback kid -- before finally settling comfortably into the role of character actor par excellence, with a rogues' gallery of killers and freaks unmatched in psychotic intensity and demented glee. Along the way, Hopper defined a generation, documenting the shining hopes and bitter disappointments of the hippie counterculture and bringing their message to movie screens everywhere. By extension, he spearheaded a revolt in the motion picture industry, forcing the studio establishment to acknowledge a youth market they'd long done their best to deny. Born May 17, 1936 in Dodge City, Kansas, Hopper began acting during his teen years, and made his professional debut on the TV series Medic. In 1955 he made a legendary collaboration with the director Nicholas Ray in the classic Rebel Without a Cause, appearing as a young tough opposite James Dean. Hopper and Dean became close friends during filming, and also worked together on 1956's Giant. After Dean's tragic death, it was often remarked that Hopper attempted to fill his friend's shoes by borrowing much of his persona, absorbing the late icon's famously defiant attitude and becoming so temperamental that his once-bright career quickly began to wane. Seeking roles far removed from the stereotypical 'troubled teens' which previously dotted his resume, Hopper began training with the Actors Studio. However, on the set of Henry Hathaway's From Hell to Texas he so incensed cast and crew with his insistence upon multiple takes for his improvisational techniques -- the reshoots sometimes numbering upwards of 100 -- that he found himself a Hollywood exile. He spent much of the next decade mired in "B"-movies, if he was lucky enough to work at all. Producers considered him such a risk that upon completing 1960's Key Witness he did not reappear on-screen for another three years. With a noteworthy role in Hathaway's 1965 John Wayne western The Sons of Katie Elder, Hopper made tentative steps towards a comeback. He then appeared in a number of psychedelic films, including 1967's The Trip and the following year's Monkees feature Head, and earned a new audience among anti-establishment viewers.With friends Peter Fonda and Jack Nicholson in front of the camera, Hopper decided to direct his own movie, and secured over $400,000 in financing to begin filming a screenplay written by novelist Terry Southern. The result was 1969's Easy Rider, a sprawling, drug-fueled journey through an America torn apart by the conflict in Vietnam. Initially rejected by producer Roger Corman, the film became a countercultural touchstone, grossing millions at the box office and proving to Hollywood executives that the ever-expanding youth market and their considerable spending capital would indeed react to films targeted to their issues and concerns, spawning a cottage industry of like-minded films. Long a pariah, Hopper was suddenly hailed as a major new filmmaker, and his success became so great that in 1971 he appeared in an autobiographical documentary, American Dreamer, exploring his life and times.The true follow-up to Easy Rider, however, was 1971's The Last Movie, an excessive, self-indulgent mess that, while acclaimed by jurors at the Venice Film Festival, was otherwise savaged by critics and snubbed by audiences. Once again Hopper was left picking up the pieces of his career; he appeared only sporadically in films throughout the 1970s, most of them made well outside of Hollywood. His personal life a shambles -- his marriage to singer/actress Michelle Phillips lasted just eight days -- Hopper spent much of the decade in a haze, earning a notorious reputation as an unhinged wild man. An appearance as a disturbed photojournalist in Francis Ford Coppola's Apocalypse Now did little to repair most perceptions of his sanity. Then in 1980, Hopper traveled to Canada to appear in a small film titled Out of the Blue. At the outset of the production he was also asked to take over as director, and to the surprise of many, the picture appeared on schedule and to decent reviews. Slowly he began to restake his territory in American films, accepting roles in diverse fare ranging from 1983's teen drama Rumble Fish to the 1985 comedy My Science Project. In 1986 Hopper returned to prominence with a vengeance. His role as the feral, psychopathic Frank Booth in David Lynch's masterpiece Blue Velvet was among the most stunning supporting turns in recent memory, while his touching performance as an alcoholic assistant coach in the basketball drama Hoosiers earned an Academy Award nomination. While acclaimed turns in subsequent films like 1987's The River's Edge threatened to typecast Hopper, there was no doubting his return to Hollywood's hot list, and in 1988 he directed Colors, a charged police drama starring Sean Penn and Robert Duvall. While subsequent directorial efforts like 1989's Chattahoochee and 1990's film noir The Hot Spot failed to create the same kind of box office returns as Easy Rider over two decades earlier, his improbable comeback continued throughout the 1990s with roles in such acclaimed, quirky films as 1993's True Romance and 1996's Basquiat. Hopper was also the villain-du-jour in a number of Hollywood blockbusters, including 1994's Speed and the following year's Waterworld, and was even a pitchman for Nike athletic wear. He also did a number of largely forgettable films such asRon Howard's EdTV (1999). In addition, he also played writer and Beat extraordinaire William S. Burroughs in a 1999 documentary called The Source with Johnny Depp as Jack Kerouac and John Turturro as Allen Ginsberg. In 1997 Hopper was awarded the distinction of appearing 87th in Empire Magazine's list of "The Top 100 Movie Stars of All Time."Hopper contracted prostate cancer in the early 2000s, and died of related complications in Venice, CA, in late May 2010. He was 74 years old.

Trivia: American character actor Edward Platt is best remembered as the eternally exasperated Chief on the Get Smart series. Before making his screen debut in the mid-'50s, he worked as a singer for a band. In feature films, he was typically cast as generals and bosses.

Trivia: Actress Marietta Canty appeared on stage and screen during the '40s and '50s. In film she usually played maids or cooks. She left acting in 1955 to care for her father.

Trivia: A graduate of St. Peter's College, Nick Adams made his screen-acting bow at age 20 with a bit in Somebody Loves Me (1952). Signed at Warner Bros. in 1955, Adams appeared with James Dean in Rebel without a Cause. An inveterate offscreen prankster, Adams enjoyed making Dean laugh by doing on-target impersonations of his co-stars; this talent came in handy when Adams was called upon to dub in several of James Dean's lines in Giant after Dean's fatal car accident. The best of Adams' 1950s movie assignments included the role of Andy Griffith's nerdish air force buddy in No Time for Sergeants (1957) and the would-be seducer of Doris Day in Pillow Talk (1959). In 1959, Adams was cast as ex-Confederate soldier Johnny Yuma on the popular TV western The Rebel; less successful was his 1962 starring series Saints and Sinners. After an Oscar nomination for his performance as a surly murder suspect in Twilight of Honor (1963), Adams' career went into an eclipse. Nick Adams died in 1968, the result of an overdose of prescription drugs.

Trivia: Stern-visaged American actress Virginia Brissac was a well-established stage actress in the early part of the 20th century. For several seasons in the 1920s, she headed a travelling stock company bearing her name. Once Brissac settled down in Hollywood in 1935, she carved a niche in authoritative parts, spending the next twenty years playing a steady stream of schoolteachers, college deans, duennas and society matrons. Once in a while, Virginia Brissac was allowed to "cut loose" with a raving melodramatic part: in Bob Hope's The Ghost Breakers, she dons a coat of blackface makeup and screams with spine-tingling conviction as the bewitched mother of zombie Noble Johnson.

Trivia: Ian Wolfe was determined to become an actor even as a youth in his hometown of Canton, IL. His Broadway debut was in the warhorse Lionel Barrymore vehicle The Claw. While acting with Katherine Cornell in The Barretts of Wimpole Street in 1934, Wolfe was spotted by MGM producer Irving Thalberg, who brought the actor to Hollywood to re-create his Barretts role. Though not yet 40, Wolfe had the receding hairline and lined features necessary for aged character roles. By his own count, Wolfe appeared in over 200 films, often uncredited assignments in the roles of judges, attorneys, butlers, and shopkeepers. Some of his best screen moments occurred in producer Val Lewton's Bedlam (1946), wherein Wolfe played an 18th century scientist confined to a mental asylum for proposing the invention of motion pictures. Because his actual age was difficult to pinpoint, Wolfe kept working into the 1990s (and his nineties); he was a particular favorite of TV's MTM productions, appearing on such sitcoms as The Mary Tyler Moore Show, The Bob Newhart Show, and Rhoda. Co-workers during this period noted affectionately that, despite his many years as a professional, Wolfe was always seized with "stage fright" just before walking on the set. Though often cast in timid roles, Ian Wolfe was quite outspoken and fiercely defensive of his craft; when asked what he thought of certain method actors who insist upon playing extensions of "themselves," Wolfe snapped that he became an actor to pretend to be other people.

Trivia: Starting his Hollywood career in or around 1951, American actor Robert Foulk was alternately passive and authoritative in such westerns as Last of the Badmen (1957), The Tall Stranger (1957), The Left-Handed Gun (1958) and Cast a Long Shadow (1958). He remained a frontiersmen for his year-long stint as bartender Joe Kingston on the Joel McCrea TV shoot-em-up Wichita Town (1959) (though he reverted to modern garb as the Anderson family's next-door neighbor in the '50s sitcom Father Knows Best). In non-westerns, Foulk usually played professional men, often uniformed. Some of his parts were fleeting enough not to have any designation but "character bit" (vide The Love Bug [1968]), but otherwise there was no question Foulk was in charge: as a doctor in Tammy and the Doctor (1963), a police official in Bunny O'Hare (1971) or a railroad conductor in Emperor of the North (1973). Robert Foulk was given extensive screen time in the Bowery Boys' Hold That Hypnotist (1957), as the title character; and in Robin and the Seven Hoods (1964), playing straight as Sheriff Glick opposite such "Merrie Men" as Frank Sinatra, Dean Martin Sammy Davis Jr. and Bing Crosby.

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: Famous as "The Star of a Thousand Emotions," British-born American silent screen actor House Peters began his screen career on a high note, playing the handsome theatrical agent who saves Mary Pickford from a life of crime in The Bishop's Carriage (1913). That was filmed in the East, but Peters was in Los Angeles already by 1914, one of the first screen stars to permanently settle there. Although he publicly stated that he preferred playing villains, Peters, curly haired and pleasantly dimpled, was from the outset typecast as the romantic hero. (Ironically, his son with actress Mae King, House Jr., would become an effective B-Western menace in the sound era.) After enjoying his greatest success as the good-bad hero of The Girl of the Golden West (1918), Peters found his career on the wane by the early '20s. He signed with Universal for six pictures in 1924, hoping for a comeback, but the results were mostly mediocre and he was soon demoted to supporting roles. Retired after 1928's Rose Marie, Peters returned for a guest appearance in The Old West, a 1952 Gene Autry vehicle that also featured his son, House Peters Jr. House Sr. died at the Motion Picture Country House and Hospital in Woodland Hills, CA.

Trivia: A product of vaudeville and burlesque, gerbil-faced comic actor Gus Schilling hit the big time when he joined the Earl Carroll Vanities in the 1930s. He moved on to Orson Welles' Mercury Theatre troupe, appearing in several Mercury radio shows and in the Welles-directed films Citizen Kane (1940), Magnificent Ambersons (1942), The Lady From Shanghai (1947), and MacBeth (1948). He also showed up in such comedy characterizations as the harried orchestra leader in Hellzapoppin' (1941) and the nervous TV repairman in Our Very Own (1950). From 1945 through 1950, Schilling teamed with Dick Lane in a lively series of 11 Columbia Pictures two-reelers; appearing in nearly all of these shorts was Schilling's burlesque partner, Judy Malcolm, who'd invariably pop up out of nowhere, slap Schilling's face, and shout, "How dare you look like someone I hate?" A heavy smoker, Schilling looked terribly drawn and haggard in his last film appearances. Gus Schilling died at the age of 49 of a reported heart attack, though many of those close to him were of the opinion that he killed himself.

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: His three-decade career in front of the camera yielding roles in such classic films as The Blackboard Jungle (1955), Rebel Without a Cause (also 1955), and Forbidden Planet (1956), actor Peter Miller's most prolific years onscreen may have been during the 1950s, though he remained active onscreen until the early '70s. Following his debut in Blackboard Jungle, Miller moved on to credited roles in such features as A Strange Adventure (1956) and as the second-billed hoodlum of director Robert Altman's The Delinquents (1957). Trading his pomade for a military-style buzz cut in the later years of the decade, Miller took on roles in 1958's Imitation General and the 1961 G.I. comedy Marines, Let's Go. Onscreen appearances became ever more rare into the following decade, and following Fools' Parade in 1971, Miller bid the silver screen farewell. On October 7, 2003, Peter Miller died of cancer in Santa Monica, CA. He was 73.

Trivia: In films from 1938's Tenth Avenue Kid, American actor Paul Bryar remained a durable character player for over thirty years, usually in police uniform. Among his screen credits were Follow Me Quietly (1949), Dangerous When Wet (1952), Inside Detroit (1955) and The Killer is Loose (1956). He also showed up in one serial, Republic's Spy Smasher (1942), and was a regular in Hollywood's B factories of the 1940s (he made thirteen pictures at PRC Studios alone, three of them "Michael Shayne" mysteries). Television took advantage of Bryar's talents in a number of guest spots, including the unsold pilot The Family Kovack (1974). He had somewhat better job security as a regular on the 1965 dramatic series The Long Hot Summer, playing Sheriff Harve Anders, though he and everyone else in the cast (from Edmond O'Brien to Wayne Rogers) were back haunting the casting offices when the series was cancelled after 26 episodes. One of Paul Bryar's last screen appearances was as one of the card players (with future star Sam Elliott) in the opening scene of Butch Cassidy and the Sundance Kid (1969).

Trivia: Flinty character actor Paul Birch was strictly a Broadway performer until switching to films in 1952. It didn't take long for Birch to be typecast in science fiction films after playing one of the three "vaporized" locals at the beginning of 1953's The War of the Worlds. Birch's more memorable cinema fantastique assignments included The Beast With a Million Eyes (1955), The Day the World Ended (1956), The 27th Day (1957), and Queen of Outer Space (1958). In 1957, he played the melancholy leading role in Roger Corman's Not of This Earth (1957). Not exclusively confined to flying-saucer epics, Paul Birch was also seen in such roles as the Police Chief in Rebel Without a Cause (1955) and the Mayor in The Man Who Shot Liberty Valance (1962).

Trivia: Character actor, onscreen from 1937.

Trivia: In films from 1932, American actor/stunt man Chuck Hamilton was a handy fellow to have around in slapstick comedies, tense cop melodramas and swashbucklers. Hamilton showed up in the faintly fascistic law-and-order epic Beast of the City (1932), the picaresque Harold Lloyd comedy Professor Beware (1938), and the flamboyant Errol Flynn adventure Against All Flags (1952). When not doubling for the leading players, he could be seen in minor roles as policemen, reporters, chauffeurs, stevedores and hoodlum. From time to time, Chuck Hamilton showed up in Native American garb, as he did in DeMille's Northwest Mounted Police (1940).

Trivia: Like Dick Wilson (Mr. Whipple) and Jan Miner (Madge), actor House Peters, Jr. attained most widespread recognition via his iconic role in American television commercials, plugging a domestic product -- in his case, Procter & Gamble's "Mr. Clean" line of household cleaners. Peters set himself apart from the pack, however, for actually playing the brand's nominal character, replete with his barrel chest, bald pate (courtesy of a latex cap and makeup), and trademark gold earring. The New Rochelle, NY, native also built up a fairly substantial litany of dramatic roles alongside his promotional work. After growing up in Beverly Hills, CA, Peters signed for roles in such projects as the television series Flash Gordon and the features Public Cowboy No. 1 and Hot Tip. After a brief service in the Army Air Corps during World War II, he hearkened back to Los Angeles, commenced occasional stage work, and resumed work in features, specializing in supporting roles in dozens of westerns such as Oklahoma Badlands (1948) and Cow Town (1950). Small portrayals in the Hollywood classics The Day the Earth Stood Still (1951) and Rebel Without a Cause (1955) represented a significant step up for Peters in terms of profile and recognition, though he continued to be most commonly associated with Mr. Clean, an assignment held from the late '50s into the early '60s. As the years rolled on, Peters did additional television work via guest spots on shows including The Twilight Zone and Perry Mason, then retired in the late '60s and spent the next four decades off-camera. Peters died of pneumonia in 2008, at the age of 92.

Trivia: The auteurists' favorite, Nicholas Ray made movies for little more than a decade, but his films are among the most incisive, bizarre, and intelligent of the 1950s. A believer that great directors leave distinctive signatures on their work, Ray's eye for setting, color, and kinetic action merged with a socially conscious interest in personal psychology to reveal a darkness at odds with "normalcy" in such films as In a Lonely Place (1950), Johnny Guitar (1954), and his most famous film, Rebel Without a Cause (1955).Born and raised in Wisconsin, Raymond Nicholas Kienzle Jr. got kicked out of high school numerous times, but he also wrote local radio shows that won him admission to college. Renaming himself Nick Ray in 1931, Ray's eclectic post-high school education included a year at the University of Chicago and several months at Frank Lloyd Wright's Taliesin art colony, where he studied architecture and drama. Moving to New York in 1932, Ray became active in left-wing theater, including acting in Elia Kazan's directorial debut for the Theater of Action, and working on a Joseph Losey production for the Federal Theater Project. Out of the FTP by 1940, Ray worked in radio and was hired by John Houseman to produce radio programs for the Office of War Information. Ray subsequently earned his first Hollywood experience as an assistant on Kazan's debut film, A Tree Grows in Brooklyn (1945). After assisting on several other films and directing a Broadway show and a TV show, Ray headed back to Hollywood to work for Houseman at RKO on a film adaptation of Thieves Like Us, retitled They Live By Night (1949). Given the chance to direct, Ray infused the film with an edgy intimacy and sympathy for the young outlaw lovers. Though barely noticed on its first release, They Live By Night was championed by the Cahiers du Cinéma critics and became one of his most highly regarded films. Staying on with RKO after Howard Hughes bought it, Ray directed murder-mystery A Woman's Secret (1949), co-starring his second wife-to-be, Gloria Grahame, and was loaned out to direct Humphrey Bogart as a sympathetic lawyer to delinquent juvenile John Derek in Knock on Any Door (1949). Derek's desire in Knock to "live fast, die young, and leave a good-looking corpse" would effectively sum up the fate of future Rebel star James Dean. Ray then teamed Bogart and Grahame in the potent noir In a Lonely Place (1950). Centering on a screenwriter who may be a murderer and his starlet lover, In a Lonely Place was both a lacerating examination of Hollywood and male violence, and a diagnosis of Ray and Grahame's failing marriage. Protected by Hughes from the blacklist, Ray churned out several more films for RKO, including a Technicolor combat movie, The Flying Leathernecks (1951), starring John Wayne and Robert Ryan, and the pristinely black, white, and gray rural noir On Dangerous Ground (1951), featuring Ryan as an urban cop redeemed by Ida Lupino. After his skillful rodeo drama, The Lusty Men (1952), featuring Mitchum, Arthur Kennedy, and Susan Hayward in a loaded love triangle, Ray left RKO in 1953. Backed by his agent Lew Wasserman, Ray worked steadily for the rest of the decade. Ray's first film as a free agent was also his most brilliantly strange. A floridly colored Western, Johnny Guitar (1954) pitted stalwart saloon owner Joan Crawford against twitchy, jealous townswoman Mercedes McCambridge with laconic titular character Sterling Hayden as Crawford's old boyfriend. Though the fight is allegedly about property, and allegorically about the Communist witch hunts, McCambridge's sexual hysteria and Crawford's butch wardrobe of blue jeans, bright shirts, and the best lipstick in the West suggested a kinkier undercurrent. Ray followed his deliriously Freudian oater with Run for Cover (1955), a Western featuring James Cagney and John Derek in an Oedipally fraught relationship. After his Westerns, Ray set to work on an original story about contemporary youth. Starring James Dean in his definitive performance, Rebel Without a Cause (1955) became one of the decade's most trenchant statements on suburban-bred teen alienation. Suffering from weak and/or negligent parenting, Dean, Natalie Wood, and Sal Mineo's disaffected trio seethe with frustration and act out with misdirected violence and a pointless, lethal chickie run, while creating an alternative familial world. Ray's widescreen compositions reveal Dean's estrangement at home and the impossibility of the trio's imagined life in an abandoned mansion, while his masterful use of color, particularly Dean's red jacket, speaks to the emotional turmoil. With Dean's death days before its release, Rebel Without a Cause became a hit and earned Oscar nominations for Wood, Mineo, and Ray's story (Dean was nominated for East of Eden [1955] instead). Returning to the underside of suburbia in Bigger Than Life (1956), Ray depicted the extreme results of emphasizing surface achievement, as drug-addled father James Mason's megalomaniacal pursuit of perfection turns into child abuse. More downbeat, Bigger Than Life did not repeat Rebel's success. After another offbeat Western, The True Story of Jesse James (1957), Ray headed to Europe to direct Bitter Victory (1957), a somber war drama starring Richard Burton and Curt Jurgens as Burton's jealous rival. Taking any assignment he could find, Ray returned to the U.S. to direct Budd Schulberg's production Wind Across the Everglades (1958). An odd story about a 19th century Florida gamekeeper, Wind was marred by creative conflicts between Ray and Schulberg. Stylish gangland story Party Girl (1958) was Ray's last Hollywood film.Settling in Europe after shooting The Savage Innocents (1959) in England and Italy, Ray turned to epics with King of Kings (1961), a handsome widescreen rendering of the life of Christ. While shooting his next epic, 55 Days at Peking (1963), however, Ray suffered a heart attack and was replaced, ending his mainstream career. After kicking around Europe, Ray returned to the U.S. for an aborted documentary on the Chicago Seven in 1969, losing his sight in one eye shortly after. An itinerant film figure in the early '70s, Ray taught, oversaw an experimental film made with his students, and participated in a biographical documentary that drew its title from a line in Johnny Guitar and I'm a Stranger Here Myself (1974). Yet his health declined significantly during his final years and he battled well-publicized amphetamine and alcohol addictions. It was during this same period that Ray also contributed a segment to the quasi-pornographic omnibus film Wet Dreams (1974), alongside the notorious adult film impresario Lasse Braun and others - a decidedly low point for the director who had once helmed Rebel Without a Cause.Ray rebounded somewhat, however, first by settling in New York City in 1976, then by playing a small role in director/fan Wim Wenders' film The American Friend (1977). Though he was diagnosed with cancer in 1977, Ray appeared in Milos Forman's Hair (1979), and began a collaboration with Wenders on Lightning Over Water (1980), a documentary of Ray's last days. Ray died in 1979, just before he and Wenders stopped production. Including Grahame, Ray was married four times and had four children; his son from his first marriage, Anthony Ray, married Grahame in 1961.