Trivia: Actor Morgan Conway made his first film appearance in Looking for Trouble (1934). He arrived in Hollywood just in time to get on the ground floor of the industry's burgeoning labor movement; along with such notables as Boris Karloff and Lyle Talbot, Conway was a founding member of the Screen Actors Guild. While under contract to RKO in 1945, Conway was assigned to star in Dick Tracy, Detective, becoming the second actor to impersonate Chester Gould's jut-jawed comic-strip detective (Ralph Byrd was the first). After his brief spurt of stardom, Morgan Conway went back to secondary roles, leaving movies altogether in 1949.

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: Trained for a career in opera, blonde leading lady Anne Jeffreys supported herself as a singer and model before going to Hollywood in 1941. Among her first film assignments was a modest Columbia 2-reeler, Olaf Laughs Last, starring El Brendel; she then worked briefly at MGM before signing at RKO. Jeffreys now insists that she was rushed through so many "B" pictures during her first few years at the latter studio that she's forgotten most of them. When reminded by a fan that she played Tess Trueheart in the first two Dick Tracy films, she refused to believe it until she saw the pictures herself on TV. Her roles, and the quality of her films, improved towards the end of her RKO stay, but by 1948 Jeffreys briefly abandoned Hollywood for Broadway. Appearing in several productions throughout the 1950s, Jeffreys was at one time the highest-paid actress on the New York musical stage. In 1951, Jeffreys married her second husband, actor Robert Sterling, with whom she co-starred in the very popular TV sitcom Topper (1953-55), as well as the very unpopular 13-week wonder Love That Jill (1958). Except for a few isolated films like Clifford (1992), Anne Jeffreys has limited her acting to television and the stage in the last few decades; she was a regular on the daytime drama General Hospital, and briefly hosted a fashion-and-health series on cable TV.

Trivia: Open-faced, prominently chinned character actor Lyle Latell began surfacing in films in the late 1930s. Only occasionally did Latell rise above the status of bit player; he was most often seen as a wisecracking reporter, griping military man or cheerful cabbie. From 1945 through 1947, Latell was a regular in RKO's Dick Tracy "B"-picture series, playing Tracy's assistant Pat Patton. Lyle Latell was married to Mary Foy, one of the "Seven Little Foys" of vaudeville fame.

Trivia: Anglo/Swiss leading lady Rita Corday came to America through the auspices of an RKO Radio film contract in 1943. Sensing that she'd eventually disappear without a trace if she continued appearing in "B"s like The Falcon Strikes Back (1943) and Dick Tracy vs. Cueball (1946), Rita re-invented herself as "Paule Croset" in 1947. When her career failed to soar, she tried another moniker, Paula Corday, which is how she was billed in her final film, The French Line (1956). A few scattered TV appearances later, Croset retired to devote her time to her husband, independent film producer Harold Nebenzal.

Trivia: Tall, handsome, golden-throated leading man Ian Keith became a Broadway favorite in the 1920s. He also pursued a sporadic silent film career, appearing opposite the illustrious likes of Gloria Swanson and Lon Chaney Sr. A natural for talkies, Keith appeared in such early sound efforts as Raoul Walsh's The Big Trail (1930) and D.W. Griffith's Abraham Lincoln (1930) (in which he played John Wilkes Booth). A favorite of Cecil B. DeMille, Keith stole the show as the cultured, soft-spoken Saladin in DeMille's The Crusades (1935). A rambunctious night life and an inclination towards elbow-bending reduced Keith's stature in Hollywood, and by the mid-1940s he was occasionally obliged to appear in such cheapies as the 1946 "Bowery Boys" epic Mr. Hex. His final screen appearance was a cameo as Rameses I in DeMille's The Ten Commandments (1956). Among Ian Keith's wives was stage luminary Blanche Yurka and silent-film leading lady Ethel Clayton.

Trivia: British actor Douglas Walton kept busy in the Hollywood of the 1930s playing upper-class twits, ineffectual weaklings, and other such highly coveted roles. Walton was most memorably cast as the genteelly depraved Percy Shelley in the prologue scenes of Bride of Frankenstein (1935). He also played the dull-witted, cowardly Darnley in John Ford's Mary of Scotland (1936). Douglas Walton remained in films until the late '40s, usually in bit parts but sometimes in such sizeable characterizations as Percival Priceless in Dick Tracy vs. Cueball (1947).

Trivia: Switching from Broadway to Hollywood in 1931, actress Esther Howard was an expert at portraying blowsy old crones, man-hungry spinsters and oversexed dowagers. Utilizing her wide, expressive eyes and versatile voice for both broad comedy and tense drama, Howard was equally at home portraying slatternly tosspot Mrs. Florian in Murder My Sweet (1944) as she was in the role of genteelly homicidal Aunt Sophie in Laurel and Hardy's The Big Noise (1944). She was a regular participant in the films of writer/director Preston Sturges, playing everything from an addled farm woman in Sullivan's Travels (1942) to the bejeweled wife of "The Wienie King" in The Palm Beach Story (1942). From 1935 to 1952, Esther Howard was a fixture of Columbia's short-subject unit, usually cast as the wife or sweetheart of comedian Andy Clyde.

Trivia: American actor Joseph Crehan bore an uncanny resemblance to Ulysses S. Grant and appeared as Grant in a number of historical features, notably They Died With Their Boots On (1941) and The Adventures of Mark Twain (1944). Appearing in hundreds of other films as well, the short, snappish actor's field-commander personality assured him authoritative roles as police chiefs, small-town mayors and newspaper editors. Because he never looked young, Joseph Crehan played essentially the same types of roles throughout his screen career, even up until 1961's Judgment at Nuremberg. Perhaps Joseph Crehan's oddest appearance is in a film he never made; in West Side Story (1961), it is Crehan's face that appears on those ubiquitous political campaign posters in the opening Jets vs. Sharks sequences.

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

Trivia: Bald, cadaverous, hollow-eyed, doom-voiced actor Milton Parsons began appearing in films in the late 1930s. In an era wherein being typecast in Hollywood assured an actor a steady paycheck, Parsons fattened his bank account by playing dozens of undertakers and morticians. He was also an effective psychotic type, most notably as the lead in 1942's The Hidden Hand. Parsons entered the "film noir" hall of fame in the tiny role of the jury foreman in 1947's They Won't Believe Me; the film's unforgettable final image was a screen-filling close-up of Parsons, gloomily intoning an all-too-late "Not Guilty." Active into the 1970s, Parsons showed up in TV series ranging from Twilight Zone to The Dick Van Dyke Show, his morbid appearance enhanced by the addition of a satanic goatee. Even in his last roles, Milton Parsons adhered strictly to type; in the 1976 TV movie Griffin and Phoenix, for example, he portrayed a guest lecturer at a support group for terminally ill cancer victims.

Trivia: Once seen in close-up (or even in a medium shot), Skelton Knaggs, with his outsized head, large eyes, and prominent ears, is seldom forgotten by filmgoers; for two decades, from the mid-'30s until his death in 1955, directors loved to use Skelton Knaggs to dress a horror set or establish a menacing mood in a thriller with his mere presence in a shot. A character actor with a unique name and specialty, British-born Skelton Knaggs was an expert in half-wit roles, but that was only a small part of his range onscreen. With his small stature and oversized head and features, he could look demented or just plain sinister. A graduate of the Royal Academy of Dramatic Art, Knaggs established himself in London on stage in William Shakespeare's Cymbeline and made appearances in various British films of the 1930s, including roles in Victor Saville's South Riding and Michael Powell's The Spy in Black. He made his first appearance in an American film in Victor Halperin's grisly thriller Torture Ship, playing one of the criminals on whom well-intentioned (but quite mad) scientist Irving Pichel plans to perform glandular experiments, but he soon moved up to higher budgeted films from the major studios, although still almost inevitably in sinister roles. Knaggs' career reached a peak in the mid-'40s, when he worked in supporting roles in ambitious major studio films such as None but the Lonely Heart (a fascinating but failed attempt at a serious drama by Cary Grant) and unusual independently made features like Douglas Sirk's early Hollywood effort Thieves' Holiday, while also making the rounds of such popular medium-budget Universal Pictures productions as House of Dracula, The Invisible Man's Revenge, and Terror By Night. The latter, the penultimate entry in the Basil Rathbone/Nigel Bruce Sherlock Holmes series at Universal, gave him a notably prominent role as the diminutive train-bound assassin, stealthily murdering his victims and disappearing from sight. He also worked at 20th Century Fox in such high profile movies as The Lodger and Forever Amber, but it was in small- and medium-scale films that Knaggs usually stood out. In all, his work was confined to an unsual body of movies right to the year of his death, in which he appeared in Fritz Lang's widescreen swashbuckler Moonfleet (which was almost more a period thriller than a costume adventure story), at MGM. Knaggs was typed in malevolent supporting parts from the outset of his Hollywood career, and the nearest that he ever got to a starring role came about when one producer -- Val Lewton -- decided to play off that image in the 1943 psychological chiller The Ghost Ship. Knaggs' character, a mute seaman, narrates the film's key sections with an internal voice-over monologue that is more hissed than spoken, leading the audience down all manner of strange psychological paths around the script's action; Knaggs' seaman ultimately rescues the hero from near-certain death. Even this was an offbeat lead role and unfortunately, as a result of a lawsuit, The Ghost Ship (and with it Knaggs' most interesting and fully realized screen performance) was withdrawn from distribution soon after release in 1944 and suppressed for 50 years, until the mid-'90s.

Trivia: Ralph Dunn used his burly body and rich, theatrical voice to good effect in hundreds of minor feature-film roles and supporting appearances in two-reel comedies. He came to Hollywood during the early talkie era, beginning his film career with 1932's The Crowd Roars. A huge man with a withering glare, Dunn was an ideal "opposite" for short, bumbling comedians like Lou Costello in the 1944 Abbott and Costello comedy In Society, Dunn plays the weeping pedestrian who explains that he doesn't want to go to Beagle Street because that's where a two-ton safe fell on his head and killed him. A frequent visitor to the Columbia short subjects unit, Dunn shows up in the Three Stooges comedy Mummie's Dummies as the ancient Egyptian swindled at the Stooges' used chariot lot. Ralph Dunn kept busy into the '60s, appearing in such TV series as Kitty Foyle and such films as Black Like Me (1964).

Trivia: American actor Trevor Bardette could truly say that he died for a living. In the course of a film career spanning three decades, the mustachioed, granite-featured Bardette was "killed off" over 40 times as a screen villain. Entering movies in 1936 after abandoning a planned mechanical engineering career for the Broadway stage, Bardette was most often seen as a rustler, gangster, wartime collaborator and murderous backwoodsman. His screen skullduggery carried over into TV; one of Bardette's best remembered video performances was as a "human bomb" on an early episode of Superman. Perhaps being something of a reprobate came naturally to Trevor Bardette -- or so he himself would claim in later years when relating a story of how, as a child, he'd won ten dollars writing an essay on "the evils of tobacco," only to be caught smoking behind the barn shortly afterward.

Trivia: He studied theater at the American Academy of Dramatic Arts. After establishing himself prominently on the American stage, he began appearing in silents beginning with The Gilded Lily (1921). He appeared in more than 100 films, the last of which was the Elvis Presley vehicle Wild in the Country (1961). He starred in a number of silents, often as a clean-living rural hero; in the sound era he began playing character roles, almost always as an arch villain. Due to a serious eye infection, he was absent from the big screen in the '50s. He was the father of actor Jason Robards, with whom he appeared on Broadway in 1958 in The Disenchanted.

Trivia: American character actor Harry Cheshire was usually billed as "Pappy," and, like S. Z. "Cuddles" Sakall, he certainly lived up to his nickname, both visually and temperamentally. After a long career on stage and in radio, Cheshire came to films in 1940, appearing in many of Republic's "hillbilly" musicals and westerns. In larger-budgeted films, he was usually seen in minor roles as businessmen, ministers, justice of the peaces and the like. He played Dr. Campbell in the Yuletide classic It's a Wonderful Life (1946), the stage manager of the ill-fated Iroquois theater in The Seven Little Foys (1955) and the Elvis-hating mayor in Loving You (1957). He also showed up in a few of the Ma and Pa Kettle entries, and was afforded a rare opportunity at all-out villainy in Dangerous Mission (1954). TV western fans will remember Harry Cheshire as Judge Ben Wiley on the Gene Autry-produced weekly Buffalo Bill Jr. (1954).

Trivia: A beauty-contest winner at age 13, Dorothy Granger went on to perform in vaudeville with her large and talented family. Granger made her film bow in 1929's Words and Music, and the following year landed a contract with comedy producer Hal Roach. Working with such masters as Harry Langdon, Laurel & Hardy and Charley Chase, she sharpened her own comic skills to perfection, enabling her to assume the unofficial title of "Queen of the Short Subjects." During her long association with two-reelers, she appeared with the likes of W.C. Fields (The Dentist), the Three Stooges (Punch Drunks), Walter Catlett, Edgar Kennedy, Hugh Herbert and a host of others. She also appeared sporadically in features, playing everything from full leads to one-line bits. A favorite of director Mitchell Leisen, Granger essayed amusing cameos in such Leisen productions as Take a Letter, Darling (1942) and Lady in the Dark (1944). George Cukor wanted to cast Granger in the important role of Belle Watling in Gone with the Wind (1939), but producer David O. Selznick decided to go with Ona Munson, who had more "name" value. Granger is most fondly remembered for her appearances in RKO's long-running (1935-51) Leon Errol short-subject series, in which she was usually cast as Leon's highly suspicious spouse. She retired from films in 1963, keeping busy by helping her husband manage a successful Los Angeles upholstery store. Dorothy Granger made her last public appearance in 1993 at the Screen Actors Guild's 50th anniversary celebration.

Trivia: Robert Bray entered films as an RKO contractee in 1946. The studio was billing the leathery, laconic Bray as the "next Gary Cooper," even though there was still plenty of life left in the original Cooper. One of his better roles under the RKO banner was western outlaw John Younger in Best of the Bad Men. Free-lancing in the 1950s, Bray played roles of all sizes and varieties. He played doggedly moralistic bus driver Carl in 1956's Bus Stop, followed by a violent, amoral Mike Hammer in My Gun is Quick. His TV-series credits include a secondary role on the 1959 western Man from Blackhawk and the larger assignment of driver/family man Simon Kane in 1960's Stagecoach West. Viewers of the 1960s knew Robert Bray best as forest ranger Corey Stewart in the long-running weekly series Lassie.

Trivia: Muscle-bound Mexican-born character actor Max Wagner kept busy in films from 1931 to 1957. Seldom given a line to speak, Wagner showed up in innumerable small roles as thugs, sailors, bodyguards, cabbies, and moving men. In one of his better-known assignments, he played an actor pretending to be the gangster character played by Barton MacLaine in the film-within-a-film segment in Bullets or Ballots (1936). Max Wagner's thick Latino accent served him well in such brief roles as the bull-farm attendant in Laurel and Hardy's The Bullfighters (1945).

Trivia: No relation to stage actor Frank Mills (1870-1921), character actor Frank Mills made his film debut in 1928. Though usually unbilled, Mills was instantly recognizable in such films as Golddiggers of 1933, King Kong (1933) and Way Out West (1937), to mention but a few. He played reporters, photographers, barkers, bartenders, bums, cabbies, kibitzers, soldiers, sailors...in short, he played just about everything. In addition to his feature-film appearances, he showed up with frequency in short subjects, especially those produced by the Columbia comedy unit between 1935 and 1943. As late as 1959, Frank Mills was popping up in bits and extra roles in such TV series as Burns and Allen and Lassie.

Trivia: A busy Hollywood studio musician, Perc Launders eased into acting in 1941, when he played the brakeman in Preston Sturges' Sullivan's Travels. Until his retirement in 1952, Launders worked at Paramount, Universal and RKO as a general-purpose actor. With such rare exceptions as "Zolton" in RKO's The Falcon in Hollywood (1945), the actor's screen characters were nameless, and often lineless. One of the unsung legion of Tinseltown bit players, Perc Launders played countless bartenders, clerks, cops, onlookers and pedestrians.