Trivia: Born Randolph Crane, this virile, weathered, prototypical cowboy star with a gallant manner and slight Southern accent enlisted for service in the U.S. Army during World War I at age 19. After returning home he got a degree in engineering, then joined the Pasadena Community Playhouse. While golfing, Scott met millionaire filmmaker Howard Hughes, who helped him enter films as a bit player. In the mid '30s he began landing better roles, both as a romantic lead and as a costar. Later he became a Western star, and from the late '40s to the '50s he starred exclusively in big-budget color Westerns (39 altogether). From 1950-53 he was one of the top ten box-office attractions. Later in the '50s he played the aging cowboy hero in a series of B-Westerns directed by Budd Boetticher for Ranown, an independent production company. He retired from the screen in the early '60s. Having invested in oil wells, real estate, and securities, he was worth between $50-$100 million.

Trivia: Trevor was born Claire Wemlinger. After attending Columbia and the American Academy of Dramatic Arts, she began her acting career in the late '20s in stock. By 1932 she was starring on Broadway; that same year she began appearing in Brooklyn-filmed Vitaphone shorts. She debuted onscreen in feature films in 1933 and soon became typecast as a gang moll, a saloon girl, or some other kind of hard-boiled, but warm-hearted floozy. Primarily in B movies, her performances in major productions showed her to be a skilled screen actress; nominated for Oscars three times, she won the Best Supporting Actress Oscar for her work in Key Largo (1948). In the '50s she began to appear often on TV; in 1956 she won an Emmy for her performance in Dodsworth opposite Fredric March.

Trivia: Joan Weldon was lucky enough as an actress to get in briefly at the end of the Hollywood studio system, make some good movies (and one great one), and then land on her feet in musical theater, which is where she wanted to be in the first place. Born Joan Louise Welton in San Francisco, she was the daughter of a prominent attorney. As a child, she showed a keen interest in music and studied piano and voice. She joined the chorus of the San Francisco Grand Opera Company and later sang with the Civic Light Opera Company. It was during a performance with the latter that she was spotted by screenwriter-turned-producer Stanley Rubin (Macao, The Narrow Margin, River of No Return), who arranged for her to have a screen test at 20th Century Fox. The studio passed on her, however, because it wasn't in the market for vocalists. Meanwhile, she appeared on television as a singer on the series This Is Your Music and later crossed paths with William T. Orr, the son-in-law of Warner Bros. co-founder Jack L. Warner (and later the executive in charge of the company's television division), which led to a contract with Warners. Her last name was changed to Weldon and she narrowly missed out being cast as a victim of Vincent Price's malevolence in André De Toth's 3-D horror classic House of Wax. Instead, her contribution to the 3-D movie craze was as the second female lead in De Toth's The Stranger Wore a Gun amid a cast that included veterans Randolph Scott, Claire Trevor, and George Macready and future stars Ernest Borgnine and Lee Marvin. Weldon was also loaned out to MGM in the Sigmund Romberg bio-musical Deep in My Heart (1954), and ended up cut from the picture for her trouble. Weldon was cast in a series of Westerns, including The Command and Riding Shotgun, but her greatest contribution to the screen was as the female lead in Gordon Douglas' Them! The first and best of Hollywood's radioactive/giant monster movies, the film relied more on characters than most others in the genre and featured an extraordinary cast, including one Oscar-winner (Edmund Gwenn), one Oscar-nominee (James Whitmore), one future TV star (James Arness) in the lead, and another two (Fess Parker and Leonard Nimoy) in small roles. Weldon broke some cinematic ground, playing a notably intelligent and assertive female character who also happened to be beautiful. "We took the movie very seriously," she recalled in a 2004 interview, "exactly like any other drama." Of her co-star Edmund Gwenn, she said, "He was the sweetest man, and he was quite elderly by then and riven with arthritis, but he worked as hard as any of us; when the director called 'Action,' he did everything asked of him, all of the climbing and the walking through the desert. It was just that, when they called 'Cut!,' he had a manservant that would rush over to him and get him to a chair." Weldon's career in movies ended with the expiration of her Warner Bros. contract in 1954. She resumed her singing career with Jimmy McHugh and was later in the road company production of The Music Man, playing Marian Paroo. Weldon made her way to Broadway in Kean, starring opposite Alfred Drake, and opened the State Theatre at Lincoln Center in New York playing opposite John Raitt in a scene from Carousel. She later toured with Fess Parker in Oklahoma and, in 1967, played the lead in a production of Franz Lehar's The Merry Widow at Lincoln Center. Weldon retired from the stage in 1980, but was still well remembered by opera and musical fans in the early 2000s. She also attracted a crowd when she turned up as a member of the audience in March 2004 at a rare 3-D screening of The Stranger Wore a Gun in New York.

Trivia: Much like Humphrey Bogart before him, Lee Marvin rose through the ranks of movie stardom as a character actor, delivering expertly nasty and villainous turns in a series of B-movies before finally graduating to more heroic performances. Regardless of which side of the law he traveled, however, he projected a tough-as-nails intensity and a two-fisted integrity which elevated even the slightest material. Born February 19, 1924, in New York City, Marvin quit high school to enter the Marine Corps and while serving in the South Pacific was wounded in battle. He spent a year in recovery before returning to the U.S. to begin working as a plumber's apprentice. After filling in for an ailing summer-stock actor, his growing interest in performing inspired him to study at the New York-based American Theater Wing. Upon making his debut in summer stock, Marvin began working steadily in television and off-Broadway. He made his Broadway bow in a 1951 production of Billy Budd and also made his first film appearance in Henry Hathaway's You're in the Navy Now. The following year, Hathaway again hired him for The Diplomatic Courier, and was so impressed that he convinced a top agent to recruit him. Soon Marvin began appearing regularly onscreen, with credits including a lead role in Stanley Kramer's 1952 war drama Eight Iron Men. A riveting turn as a vicious criminal in Fritz Lang's 1953 film noir classic The Big Heat brought Marvin considerable notice and subsequent performances opposite Marlon Brando in the 1954 perennial The Wild One and in John Sturges' Bad Day at Black Rock cemented his reputation as a leading screen villain. He remained a heavy in B-movies like 1955's I Died a Thousand Times and Violent Saturday, but despite starring roles in the 1956 Western Seven Men From Now and the smash Raintree County, he grew unhappy with studio typecasting and moved to television in 1957 to star as a heroic police lieutenant in the series M Squad. As a result, Marvin was rarely seen in films during the late '50s, with only a performance in 1958's The Missouri Traveler squeezed into his busy TV schedule. He returned to cinema in 1961 opposite John Wayne in The Comancheros, and starred again with the Duke in the John Ford classic The Man Who Shot Liberty Valance a year later. Marvin, Wayne, and Ford reunited in 1963 for Donovan's Reef. A role in Don Siegel's 1964 crime drama The Killers followed and proved to be Marvin's final performance on the wrong side of the law.Under Stanley Kramer, Marvin delivered a warm, comic turn in 1965's Ship of Fools then appeared in a dual role as fraternal gunfighters in the charming Western spoof Cat Ballou, a performance which won him an Academy Award. His next performance, as the leader of The Dirty Dozen, made him a superstar as the film went on to become one of the year's biggest hits. Marvin's box-office stature had grown so significantly that his next picture, 1968's Sergeant Ryker, was originally a TV-movie re-released for theaters. His next regular feature, the John Boorman thriller Point Blank, was another major hit. In 1969, Marvin starred with Clint Eastwood in the musical comedy Paint Your Wagon, one of the most expensive films made to date. It too was a success, as was 1970's Monte Walsh. Considering retirement, he did not reappear onscreen for two years, but finally returned in 1972 with Paul Newman in the caper film Pocket Money. After turning down the lead in Deliverance, Marvin then starred in Prime Cut, followed in 1973 by Emperor of the North Pole and The Iceman Cometh.Poor reviews killed the majority of Marvin's films during the mid-'70s. When The Great Scout and Cathouse Thursday -- the last of three pictures he released during 1976 -- failed to connect with critics or audiences, he went into semi-retirement, and did not resurface prior to 1979's Avalanche Express. However, his return to films was overshadowed by a high-profile court case filed against him by Michelle Triola, his girlfriend for the last six years; when they separated, she sued him for "palimony" -- 1,800,000 dollars, one half of his earnings during the span of their relationship. The landmark trial, much watched and discussed by Marvin's fellow celebrities, ended with Triola awarded only 104,000 dollars. In its wake he starred in Samuel Fuller's 1980 war drama The Big Red One, which was drastically edited prior to its U.S. release. After 1981's Death Hunt, Marvin did not make another film before 1983's Gorky Park. The French thriller Canicule followed, and in 1985 he returned to television to reprise his role as Major Reisman in The Dirty Dozen: The Next Mission. The 1986 action tale The Delta Force was Marvin's final film; he died of a heart attack on August 29, 1987, in Tucson, AZ, and was buried in Arlington National Cemetery next to the remains of fellow veteran (and boxing legend) Joe Louis.

Trivia: Beaming, heavily mustached Mexican actor Alfonso Bedoya was sent by his family to a private school in Texas, but he grew bored with the routine and dropped out. Forcibly brought back to Mexico by his older brother, Bedoya became an actor on his home turf, During the war years, he was seen in choice character roles both mirthful and menacing in a reputed 175 Mexican films. Alfonso Bedoya's unforgettable American film debut was in 1948's The Treasure of the Sierra Madre; as vicious bandit leader Gold Hat, Bedoya entered the standard repertoire of impressionists everywhere by spewing the immortal line "Idon't have to show you any steenkin' badges!!!"

Trivia: Born Ermes Effron Borgnino in Hamden, CT, to Italian immigrants, Ernest Borgnine spent five years of his early childhood in Milan before returning to the States for his education. Following a long stint in the Navy that ended after WWII, Borgnine enrolled in the Randall School of Dramatic Art in Hartford. Between 1946 and 1950, he worked with a theater troupe in Virginia and afterward appeared a few times on television before his 1951 film debut in China Corsair. Borgnine's stout build and tough face led him to spend the next few years playing villains. In 1953, he won considerable acclaim for his memorable portrayal of a ruthless, cruel sergeant in From Here to Eternity. He was also praised for his performance in the Western Bad Day at Black Rock. Borgnine could easily have been forever typecast as the heavy, but in 1955, he proved his versatility and showed a sensitive side in the film version of Paddy Chayefsky's acclaimed television play Marty. Borgnine's moving portrayal of a weak-willed, lonely, middle-aged butcher attempting to find love in the face of a crushingly dull life earned him an Oscar, a British Academy award, a Cannes Festival award, and an award from both the New York Film Critics and the National Board of Review. After that, he seldom played bad guys and instead was primarily cast in "regular Joe" roles, with the notable exception of The Vikings in which he played the leader of the Viking warriors. In 1962, he was cast in the role that most baby boomers best remember him for, the anarchic, entrepreneurial Quentin McHale in the sitcom McHale's Navy. During the '60s and '70s, Borgnine's popularity was at its peak and he appeared in many films, including a theatrical version of his show in 1964, The Dirty Dozen (1966), Ice Station Zebra (1968) and The Wild Bunch (1969). Following the demise of McHale's Navy in 1965, Borgnine did not regularly appear in series television for several years. However, he did continue his busy film career and also performed in television miniseries and movies. Notable features include The Poseidon Adventure (1972) and Law and Disorder (1974). Some of his best television performances can be seen in Jesus of Nazareth (1977), Ghost on Flight 401 (1978), and a remake of Remarque's All Quiet on the Western Front (1979). In 1984, Borgnine returned to series television starring opposite Jan Michael Vincent in the action-adventure series Airwolf. That series ended in 1986; Borgnine's career continued to steam along albeit in much smaller roles. Between 1995 and 1997, he was a regular on the television sitcom The Single Guy. In 1997, he also made a cameo appearance in Tom Arnold's remake of Borgnine's hit series McHale's Navy.At age 80 he continued to work steadily in a variety of projects such as the comedy BASEketball, the sci-fi film Gattaca, and as the subject of the 1997 documentary Ernest Borgnine on the Bus. He kept on acting right up to the end of his life, tackling one of his final roles in the 2010 action comedy RED. Borgnine died in 2012 at age 95.

Trivia: Actor Pierre Watkin looked as though he was born to a family of Chase Manhattan executives. Tall, imposing, imbued with a corporate demeanor and adorned with well-trimmed white mustache, Watkin appeared to be a walking Brooks Brothers ad as he strolled through his many film assignments as bankers, lawyers, judges, generals and doctors. When director Frank Capra cast the actors playing US senators in Mr Smith Goes to Washington (1939) using as criteria the average weight, height and age of genuine senators, Watkin fit the physical bill perfectly. Occasionally Watkin could utilize his established screen character for satirical comedy: in W.C. Fields' The Bank Dick, he portrayed Lompoc banker Mr. Skinner, who extended to Fields the coldest and least congenial "hearty handclasp" in movie history. Serial fans know Pierre Watkin as the actor who originated the role of bombastic Daily Planet editor Perry White in Columbia's two Superman chapter plays of the late '40s.

Trivia: Character actor Joseph Vitale had a busy career in feature films and on 1950s and 1960s television in shows such as Superman, The Lone Ranger, Wagon Train, and Rawhide.

Trivia: The screen's premiere "Old Codger," American actor Clem Bevans didn't make his movie debut until he was 55 years old. His acting career was launched in 1900 with a vaudeville boy-girl act costarring Grace Emmett. Bevans moved on to burlesque, stock shows, Broadway and light opera. In 1935, Bevans first stepped before the movie cameras as Doc Wiggins in Way Down East. It was the first of many toothless, stubble-chinned geezers that Bevans would portray for the next 27 years. On occasion, producers and directors would use Bevans' established screen persona to throw the audience off the track. In Happy Go Lucky (1942), he unexpectedly shows up as a voyeuristic millionaire with a fondness for female knees; in Hitchcock's Saboteur (1942), he is a likeable old desert rat who turns out to be a Nazi spy! Clem Bevans continued playing farmers, hillbillies, and "town's oldest citizen" roles into the early 1960s. The octogenarian actor could be seen in a 1962 episode of Twilight Zone ("Hocus Pocus and Frisby") looking and sounding just the same as he had way back in 1935.

Trivia: Corpulent, booming-voiced actor Paul Maxey, in films from 1941, was given sizeable roles (in every sense of the word) in such "B" pictures as Sky Dragon (1949) and The Narrow Margin (1952), often cast as an obstreperous villain. After appearing as composer Victor Herbert in MGM's Jerome Kern biopic Till the Clouds Roll By (1946), he was kept "on call" at MGM for uncredited character parts in such major productions as An American in Paris (1951), Singin' in the Rain (1952), The Bad and the Beautiful (1952) and It's Always Fair Weather (1955). Active until 1962, Paul Maxey is best-remembered by 1950s TV addicts as the irascible Mayor Peoples on the Jackie Cooper sit-com The People's Choice (1955-58).

Trivia: Frank Scannell, a pug-nosed American character actor, made his film debut in Shadow of Suspicion (1944). Scannell spent the next two decades playing waiters, reporters, bell captains, and other such uniformed roles. One of his larger assignments was Sheriff Quinn in The Night the World Exploded (1957). Jerry Lewis fans will remember Frank Scanell as put-upon hospital patient Mr. Mealey ("I didn't know your teeth were in the glass") in The Disorderly Orderly (1964).

Trivia: One of several male models to achieve some success in action films of the '20s, Hermon Reed Howes was forever saddled with the tag "Arrow Collar Man," despite the fact that he had been only one of several future luminaries to have posed for famed artist J.C. Leyenecker's memorable Arrow ads. (Future screen actors Fredric March and Brian Donlevy also did yeoman duty for the company.)A graduate of the University of Utah and the Harvard Graduate School, Howes had served two and a half years in the navy prior to entering onto the stage. He became a leading man for the likes of Peggy Wood and Billie Burke, and entered films in 1923, courtesy of low-budget producer Ben Wilson, who cast the handsome newcomer as the lead in a series of breathless melodramas released by Rayart. Howes reached a silent screen pinnacle of sorts as Clara Bow's leading man in Rough House Rosie (1927), but his starring days were over with the advent of sound. There was nothing inherently wrong with Howes voice, but it didn't do anything for him either. His acting before the microphone seemed too stiff. He was still as handsome as ever, but his good looks were often hidden behind a scruffy beard or mustache. The veteran actor then drifted into supporting roles in B-Westerns and serials, his appearances sometimes devoid of dialogue, and more often than not, he was unbilled. Howes did his fair share of television in the '50s as well, but ill health forced him to retire after playing a police inspector in Edward D. Wood Jr.'s The Sinister Urge, filmed in July of 1960 and a guest spot on television's Mr. Ed. He died of cancer at the Motion Picture Country House and Hospital in Woodland Hills, CA.

Trivia: Mississippi-born Roscoe Ates spent a good portion of his childhood overcoming a severe stammer. Entering show business as a concert violinist, the shriveled, pop-eyed Ates found the money was better as a vaudeville comedian, reviving his long-gone stutter for humorous effect. In films from 1929, Ates appeared in sizeable roles in such films as The Champ (1931), Freaks (1932) and Alice in Wonderland (1933), and also starred in his own short subject series with RKO and Vitaphone. Though his trademarked stammer is something of an endurance test when seen today, it paid off in big laughs in the 1930s, when speech impediments were considered the ne plus ultra of hilarity. By the late 1930s Ates's popularity waned, and he was reduced to unbilled bits in such films as Gone with the Wind (1939) and Dixie (1942). His best showing during the 1940s was as comic sidekick to singing cowboy Eddie Dean in a series of 15 low-budget westerns. Remaining busy in films and on TV into the 1960s, Roscoe Ates made his last appearance in the 1961 Jerry Lewis comedy The Errand Boy.

Trivia: One of the first stars to emerge from the old Edison film company, Canadian-born actor Edward Earle had toured in vaudeville and stock before settling on movies in 1915. The blonde, muscular Earle quickly rose to the rank of romantic lead in films like Ranson's Folly (1915), The Gates of Eden (1916), and East Lynne (1921). In the '20s he could be seen supporting such luminaries as George Arliss (The Man Who Played God [1922]) and Lillian Gish (The Wind [1928]). In talkies, Earle became a character player. Though his voice was resonant and his handsome features still intact, he often as not played unbilled bits, in everything from prestige pictures (Magnificent Obsession [1935]) to B-items (Laurel and Hardy's The Dancing Masters [1943] and Nothing but Trouble [1944]). In Beware of Blondie, Earle assumed the role of Dagwood's boss, Mr. Dithers -- but his back was turned to the camera and his voice was dubbed by the Blondie series' former Dithers, Jonathan Hale. Earle's best sound opportunities came in Westerns and serials; in the latter category, he was one of the characters suspected of being the diabolical Rattler in Ken Maynard's Mystery Mountain (1934). Edward Earle retired to the Motion Picture Country Home in the early '60s, where he died at age 90 in 1972.

Trivia: "A very funny guy -- funnier than most gave him credit for," as one director described him, lanky, slow-moving Guy Wilkerson is fondly remembered for playing comedy sidekick Panhandle Perkins in the 1942-1945 PRC Texas Rangers film series, a low-rent competition for Republic Pictures' popular Three Mesquiteers Westerns. As Panhandle, Wilkerson's comedy was never intrusive and often used merely as a slow-witted counterpoint to the action. In Hollywood from at least 1937 (some sources claim he appeared onscreen as early as the 1920s), Wilkerson had honed his skills in minstrel shows, burlesque, and vaudeville, but away from his sidekick duties at PRC, he was usually seen playing less humorous characters, notably ministers or undertakers. Appearing in hundreds of feature films and television series over three decades, Guy Wilkerson was last seen in the crime thriller The Todd Killings in 1971, the year of his death from cancer.

Trivia: Yet another country & western music performer turned B-Western bit player, mustachioed Al Haskell and his accordion joined Johnny Luther, Chuck Baldra, Jack Jones and, to the regret of his fans, a singing Ken Maynard in Honor of the Range (1934), and later performed with Oscar Gahan and Rudy Sooter in Roy Rogers' Frontier Pony Express (1939). As an actor, Haskell would appear in nearly 100 B-Westerns and serials, almost always unbilled and often playing a henchman. His screen career lasted well into the 1950s.

Trivia: Snake-eyed, mustachioed character actor Frank Ellis seldom rose above the "member of the posse" status in "B" westerns. Once in a while, he was allowed to say things like "Now here's my plan" and "Let's get outta here," but generally he stood by waiting for the Big Boss (usually someone like Harry Woods or Wheeler Oakman) to do his thinking for him. Ellis reportedly began making films around 1920; he remained in the business at least until the 1954 Allan Dwan-directed western Silver Lode. Frank Ellis has been erroneously credited with several policeman roles in the films of Laurel and Hardy, due to his resemblance to another bit player named Charles McMurphy.

Trivia: Blessed with matinee idol looks, an athletic physique, and a generous supply of talent, Francis J. McDonald entered films in 1912 after brief stage experience. A popular leading man of the teen years, McDonald segued into villainous characterizations in the 1920s, notably as the title character in Buster Keaton's Battling Butler (1926). He remained busy during the talkie era, primarily as a mustachioed heavy in "B" westerns and a featured player in the films of Cecil B. DeMille. Francis J. McDonald was at one time the husband of the "ever popular" Mae Busch.

Trivia: Albert Hill Jr. was the son of stage actor Al Hill (not to be confused with the Hollywood character actor of the same name). The younger Hill's screen credits were limited to two variations on the same basic role. He was seen as Rod, one of the residents of Boys' Town (1938), then as Pete, an inmate of Boys' Reformatory (1939).

Trivia: A tough-looking character actor in Grade-Z Westerns of the 1940s, Terry Frost's screen career was highly affected by a role he didn't get to play. In 1945, Frost, who had been portraying henchmen in Westerns since 1941, was signed to star the title role in Dillinger, a low-budget but highly publicized melodrama depicting the exploits of real life gangster and Public Enemy Number One, John Dillinger. The proposed screenplay, however, came in for intense scrutiny by the Production Code censors and when the cameras finally rolled, the part had been re-cast with newcomer Lawrence Tierney, who thus embarked on a long and profitable career portraying public enemies. Frost, in contrast, returned to the realm of low-budget oaters, laboring rather anonymously in countless Western melodramas for also-ran studios Monogram and PRC. He was even busier on television in the 1950s, appearing in seemingly every Western series ever produced, from The Gene Autry Show to Gunsmoke to Rawhide. In his later years, the erstwhile vaudevillian and coffee shop owner became a popular guest speaker at various B-Western conventions, where he would reminisce about everyone from Johnny Mack Brown to Whip Wilson. His death was attributed to a heart attack.

Trivia: Throughout his film career, Richard Benjamin trafficked in neurotic, high-strung, self-involved upper-middle-class characterizations. While attending the New York High School of Performing Arts, Benjamin made his first professional stage appearances, and reportedly showed up in a handful of movie bit roles. He continued his theatrical training at Northwestern University, where he met actress Paula Prentiss, whom he married in 1961. At first, Hollywood was more interested in Paula than in Dick; thus, while Paula was co-starring with Jim Hutton at MGM, her husband was still performing on stage. In 1965, Benjamin directed the London production of Neil Simon's Barefoot in the Park; the following year, he made his Broadway acting bow in Simon's The Star Spangled Girl, earning a Theatre World Award in the bargain. Co-starring with wife Paula, Benjamin appeared in the 1967 TV situation comedy He and She, which gained a loyal cult following but was considered too New Yawk-ish for the hinterlands. Even so, He and She made Benjamin a name-above-the-title star, and it was in this capacity that he made his film adult screen appearance as angst-driven collegiate Neil Klugman in Goodbye Columbus (1969). He went on to play Major Danby in the all-star Catch-22 (1969), monumentally insensitive husband Jonathan Balser in Diary of a Mad Housewife (1970), the self-abusive (in every sense of the phrase) title character in Portnoy's Complaint (1972), the hero-by-default in Westworld (1973), ulcerated agent Ben Clark in The Sunshine Boys (1976) and erstwhile vampire hunter Dr. Jeff Rosenberg in Love at First Bite (1980). Benjamin participated in another cult-TV item in 1978, when he starred in the 6-episode sci-fi lampoon Quark. In 1982, he made his film directorial bow with My Favorite Year (1982), a rollicking nostalgiafest inspired by TV's Golden Age. Since that time, Benjamin has favored directing over performing.

Trivia: Long after British-born actor Herbert Rawlinson had passed from the scene, film fans who'd grown up in the teens and twenties retained vivid memories of his virile good looks and the solid reliability of his characterizations. A stage veteran, Rawlinson entered films in 1911 with the appropriately titled one-reeler The Novice. Within a few years, he was a major star, specializing in fast-paced detective stories and serials. Somehow it seemed logical for the sartorially splendid, every-hair-in-place Rawlinson to jump from motorcar to streetcar and back again in a chapter-play chase sequence -- yet still retain enough poise to romance the willing heroine a reel or so later. Eclipsed by younger action stars in the '20s, the still-buoyant Rawlinson found himself in minor films and -- briefly -- as a two-reel comedy star in Hal Roach's Slipping Wives (where his thunder was stolen by a pair of supporting players named Stan Laurel and Oliver Hardy). Too old to recapture his public when sound came in, Rawlinson nevertheless spoke his lines with relaxed conviction, and came in handy for character roles, often playing the "above suspicion" leading citizen who turned out to be behind a city's criminal activities. In 1937, Rawlinson returned to serials in the title role of Blake of Scotland Yard, which, though hampered by a tiny budget and utter lack of background music, was well cast with several reliable silent film veterans. Herbert Rawlinson remained active in films until 1951; he died of lung cancer in 1953, shortly after (unfortunately) being coaxed out of retirement to appear in the Edward D. Wood turkey Jail Bait (1954).

Trivia: An amiable, big-nosed former vaudevillian from Tennessee, Brit Wood's main claim to cinematic fame was his brief 1939-1940 stint as William Boyd's comic sidekick Speedy in the long-running Hopalong Cassidy B-Western series. Although he was summarily replaced with the better-known (and plain better) Andy Clyde, Wood wasn't too annoying and could actually play dramatic scenes better than most B-Western rubes. An accomplished harmonica virtuoso, Wood supplied hillbilly tunes to several B-Westerns, including "The Covered Wagon Rolled Right Along" from Gene Autry's Saddle Pals (1947).

Trivia: A veteran of vaudeville and Broadway, Harry Seymour came to films with extensive credits as a composer and musical-comedy star. Unfortunately, Seymour made his movie debut in 1925, at the height of the silent era. When talkies came in, he was frequently employed as a dialogue director with the Warner Bros. B-unit. From 1932 to 1958, Harry Seymour also essayed bit roles at Warners and 20th Century Fox, most often playing pianists (Irish Eyes Are Smiling, Rhapsody in Blue, A Ticket to Tomahawk, etc.).

Trivia: Signed up by MGM's dramatic school directly after graduating from the University of Southern California, American actor James Millican was groomed for that studio's stable of young leading men. Instead, he made his first film, Sign of the Cross (1932), at Paramount, then moved on to Columbia for his first important role in Mills of the Gods (1934). Possessor of an athletic physique and Irish good looks, Millican wasn't a distinctive enough personality for stardom, but came in handy for secondary roles as the hero's best friend, the boss' male secretary, and various assorted military adjutants. According to his own count, Millican also appeared in 400 westerns; while such a number is hard to document, it is true that he was a close associate of cowboy star "Wild Bill" Elliott, staging a number of personal-appearance rodeos on Elliott's behalf. Fans of baseball films will recall James Millican's persuasive performance as Bill Killefer in the Grover Cleveland Alexander biopic The Winning Team.

Trivia: A staple of Western-themed films and television series, veteran character actor Rayford Barnes began his onscreen career with John Wayne in Hondo, and in recent years appeared on television in Walker, Texas Ranger and ER. After beginning his career in New York training with Stella Adler and the Neighborhood Playhouse, Barnes moved to San Francisco to open his own theater, and later relocated to San Francisco, where he landed his role in Hondo. A veteran of WWII, Barnes made regular appearances on such TV series as Gunsmoke, The Virginian, and Little House on the Prairie while concurrently appearing in Westerns like The Wild Bunch and The Hunting Party. Rayford Barnes died on November 11, 2000, at St. Andrews Medical Center in Santa Monica, CA. He was 80.

Trivia: American character actress Edith Evanson began showing up in films around 1941. Cast as a nurse, it is Evanson who appears in the reflection of the shattered glass ball in the prologue of Orson Welles' Citizen Kane (1941). Her larger screen assignments included Aunt Sigrid in George Stevens' I Remember Mama (1948) and Mrs. Wilson the housekeeper in Hitchcock's Rope (1948). Hitchcock also directed her in Marnie (1964). Edith Evanson is best remembered by science fiction fans for her lengthy, uncredited appearance as Klaatu's landlady Mrs. Crockett in The Day the Earth Stood Still (1951).

Trivia: A rugged and trustworthy Western hero from Boston, silent screen cowboy Franklyn Farnum's appeal was closer to William S. Hart than Tom Mix. Farnum's road to screen stardom began in vaudeville and musical comedy. While he was not related to stage and screen stars William Farnum and Dustin Farnum, two legendary brothers who also hailed from Boston, he never really dissuaded the name association, and while he never achieved the same success as the other Farnums, it was not for lack of trying. Onscreen from around 1914, Franklyn Farnum was usually found in inexpensive Westerns and reached a plateau as the star of the 1920 serial The Vanishing Trails and a series of oaters produced independently by "Colonel" William N. Selig, formerly of the company that bore his name. In 1918, Farnum received quite a bit of press for marrying screen star Alma Rubens, but the union proved extremely short-lived. As busy in the 1920s as in the previous decade, Farnum made the changeover to sound smoothly enough, but he was growing older and leading roles were no longer an option. He maintained his usual hectic schedule throughout the following three decades, more often than not playing villains and doing bit parts, working well into the television Western era. For many years, Farnum was the president of the Screen Extras Guild. In 1961, Franklyn Farnum died of cancer at the Motion Picture Country Hospital in Woodland Hills, CA.

Trivia: Arriving in America from his native Australia at the turn of the century, Frank S. Hagney eked out a living in vaudeville. He entered films during the silent era as a stunt man, gradually working his way up to featured roles. While most of Hagney's film work is forgettable, he had the honor of contributing to a bonafide classic in 1946. Director Frank Capra hand-picked Frank S. Hagney to portray the faithful bodyguard of wheelchair-bound villain Lionel Barrymore in the enduring Yuletide attraction It's A Wonderful Life (1946).