Trivia: He began acting in plays in his early teens, and was already a veteran by the time he joined Orson Welles's Mercury Theater in 1938; among his Mercury credits was a role in the infamous War of the Worlds radio broadcast. Like many Mercury performers, he followed Welles to Hollywood and debuted onscreen in Citizen Kane (1941). In a sporadically busy film career, he went on to play many character roles over the next four decades; he was often cast as insensitive, no-nonsense types, and sometimes played gangsters. He began a second career in the mid '50s as a TV director.

Trivia: A graduate of Bowdoin college, Albert Dekker made his professional acting bow with a Cincinnati stock company in 1927. Within a few months he was featured in the Broadway production of Eugene O'Neill's Marco Millions. After a decade's worth of impressive theatrical appearance, Dekker made his first film, 1937's The Great Garrick. Usually cast as villains, Dekker was starred in the Technicolor horror film Dr. Cyclops (1940) and played a fascinating dual role in the 1941 suspenser Among the Living. Dekker's offscreen preoccupation with politics led to his winning a California State Assembly seat in 1944; during the McCarthy era, Dekker became an outspoken critic of the Wisconsin senator's tactics, and as a result the actor found it hard to get work in Hollywood. He returned to Broadway, then made a movie comeback in 1959. During his last decade, Dekker alternated between film, stage and TV assignments; he also embarked on several college-campus lecture tours. In May of 1968, Dekker was found strangled to death in his Hollywood home. His naked body was bound hand and foot, a hypodermic needle was jammed into each arm, and obscenities were scrawled all over the corpse. At first, it seemed that Dekker was a closet homosexual who had committed suicide (early reports suggested that the writings on his body were his bad movie reviews) or had died while having rough sex. While the kinky particulars of the case were never officially explained, it was finally ruled that Albert Dekker had died of accidental asphyxiation.

Trivia: Character actor Wesley Addy made his film debut in First Legion (1951). Often cast in cold, intimidating roles, Addy was a member in good standing of director Robert Aldrich's informal stock company. The actor was given plenty of elbow room in his supporting parts in Aldrich's Kiss Me Deadly (1955) and The Big Knife (1955), and had a memorable pre-credits bit as a migraine-prone movie producer ("Boy oh boy oh boy oh boy") in Whatever Happened to Baby Jane? (1962). Addy married actress Celeste Holm in 1961.

Trivia: Hernandez was one of the first "new style" black screen actors, who neither sang nor danced but played characters just as white actors did. He grew up in Rio de Janeiro. In 1922 he first began performing onstage, working in an acrobatic act. Later he lived in the Caribbean and worked as a professional boxer under the name Kid Curley. He went on to work in a minstrel show, in circuses, and in vaudeville. He debuted on Broadway in 1927 in Show Boat. He played a few bit parts in the black audience-targeted films of Oscar Micheaux, and also worked as a radio scriptwriter. He broke through as a screen actor in Intruder in the Dust (1949), in which he played a proud black man wrongly accused of having killed a white Southerner. He played masculine, sensitive, individualistic men. After getting a number of solid roles, he was obliged to accept lesser roles in most of the films he made from the late '50s on. He continued acting until shortly before his death, working in both films and on TV.

Trivia: Greek-born actor Nick Dennis may have been short of stature, but that didn't prevent him from cutting a prominent and memorable image onscreen (and on-stage) in a career that crossed 40 years and two coasts. Indeed, his diminutive physique was more than matched by an outsized talent, and an ability to steal almost any scene he was in, working among the stars of whatever the production happened to be. Dennis was born in Thessaly in 1904, and his American stage career dated from the mid-'30s. He made his debut on Broadway in September 1935 playing a telegraph boy in the Howard Lindsay/Damon Runyon comedy A Slight Case of Murder; and in April 1936, he played a thug in the original Broadway production of Richard Rodgers' and Lorenz Hart's On Your Toes, starring Ray Bolger. His other early stage credits included On Borrowed Time and The World We Make, of which only the latter was a conspicuous success at the time. He continued to find steady work through the Second World War and beyond, including roles in José Ferrer's Broadway production of Cyrano De Bergerac. It was around the time of the latter's run that he made his big-screen debut with a role in the New York-filmed drama A Double Life (1947). But it was the part of Pablo Gonzales in A Streetcar Named Desire, directed by Elia Kazan, that brought him to Hollywood, to appear in the Kazan-directed film version. Dennis' screen credits multiplied by the dozens over the next few years, in pictures such as Sirocco (1951) and Eight Iron Men (1952), as well as television work on anthology shows such as Fireside Theatre. Kazan used him in East of Eden (1955), and Robert Aldrich gave him the role of extrovert garage mechanic and car enthusiast Nick in Kiss Me Deadly, which also offered him a prominent exit scene and key role in the plot. It was in that picture, with Dennis running on all cylinders, so to speak, that one could see him at his flamboyant best, stealing at least two key scenes from star Ralph Meeker. Aldrich also used Dennis in The Big Knife, and he would show up in numerous films and television shows across the 1950s, sometimes in delightfully bizarre moments; in a gypsy wedding scene in Nicholas Ray's Hot Blood, his character is leading a trained bear on a leash. Dennis became something of a cinematic specialty act during this period with his outsized, flamboyant persona, and he was much-loved by audiences in all genres. Additionally, he appeared in dozens of television shows over the next six years, and it was television where he made his biggest long-term impression as an actor. In 1962, he became a regular, recurring character as hospital orderly Nick Kanavaras on Ben Casey, where he frequently provided lighter moments in the drama. Following the series' cancellation, he continued to work, mostly in television, into the mid-'70s, including several made-for-TV features and a string of appearances on the series Kojak, starring Telly Savalas.

Trivia: Cloris Leachman seems capable of playing any kind of role, and she has consistently demonstrated her versatility in films and on TV since the 1950s. On the big screen, she can be seen in such films as Kiss Me Deadly (1955), Butch Cassidy and the Sundance Kid (1969), The Last Picture Show (1971), for which she won an Oscar; and Young Frankenstein (1974). On TV, she played the mother on Lassie from 1957-58, and Phyllis Lindstrom on both The Mary Tyler Moore Show (1970-77) and her own series, Phyllis (1975-77). She was a staple on many of the dramatic shows of the '50s, and a regular on Charlie Wild, Private Detective (1950-52), and The Facts of Life. Leachman has won three Emmy Awards and continues to make TV, stage, and film appearances, including a turn as Granny in the film version of The Beverly Hillbillies (1993) and supplying her voice for the animated Beavis and Butt-Head Do America (1996) and The Iron Giant (1999). In 1999, she could be seen heading the supporting cast in Wes Craven's Music of the Heart.

Trivia: When diehard American movie fans speak of Jack Lambert, they are generally not referring to the British character actor of that name, but of the New York-born supporting player who was most often seen in gangster roles. Following Broadway experience, Lambert came to Hollywood in 1943, to menace Kay Kyser in the MGM musical comedy Swing Fever. Usually a secondary bad guy, Lambert was the main menace -- a scarfaced thug with a hook for a hand -- in Dick Tracy's Dilemma (1947). A less malevolent Jack Lambert was seen on a weekly basis as Joshua on the 1959-60 TV adventure series Riverboat.

Trivia: A graduate of Santa Monica Junior College, Jack Elam spent the immediate post-World War II years as an accountant, numbering several important Hollywood stars among his clients. Already blind in one eye from a childhood fight, Elam was in danger of losing the sight in his other eye as a result of his demanding profession. Several of his show business friends suggested that Elam give acting a try; Elam would be a natural as a villain. A natural he was, and throughout the 1950s Elam cemented his reputation as one of the meanest-looking and most reliable "heavies" in the movies. Few of his screen roles gave him the opportunity to display his natural wit and sense of comic timing, but inklings of these skills were evident in his first regular TV series assignments: The Dakotas and Temple Houston, both 1963. In 1967, Elam was given his first all-out comedy role in Support Your Local Sheriff, after which he found his villainous assignments dwindling and his comic jobs increasing. Elam starred as the patriarch of an itinerant Southwestern family in the 1974 TV series The Texas Wheelers (his sons were played by Gary Busey and Mark Hamill), and in 1979 he played a benign Frankenstein-monster type in the weekly horror spoof Struck By Lightning. Later TV series in the Elam manifest included Detective in the House (1985) and Easy Street (1987). Of course Elam would also crack up audiences in the 1980s with his roles in Cannonball Run and Cannonball Run II. Though well established as a comic actor, Elam would never completely abandon the western genre that had sustained him in the 1950s and 1960s; in 1993, a proud Elam was inducted into the Cowboy Hall of Fame. Two short years later the longitme star would essay his final screen role in the made for television western Bonanza: Under Attack.

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

Trivia: A law student at the University of Madrid, Fortunio Bonanova switched his major to music at Madrid's Real Conservatory and the Paris Conservatory. Bonanova inaugurated his operatic career as a baritone at the age of 17. By age 21 he was in films, producing, directing and starring in a silent production of Don Juan (1921). He spent most of the 1920s singing at the Paris opera and writing books, plays and short stories; he arrived in America in 1930 to co-star with Katherine Cornell on Broadway. At the invitation of his friend Orson Welles, Bononova portrayed the feverish singing teacher Signor Matisti in Welles' Citizen Kane (1941). Fortunio Bonanova remained gainfully employed in Hollywood as a character actor into the early 1960s.

Trivia: James Seay was groomed for romantic leads by Paramount Pictures beginning in 1940. After several nondescript minor roles, Seay finally earned a major part--not as a hero, but as a villainous gang boss in the Columbia "B" The Face Behind the Mask (1941). Never quite reaching the top ranks, Seay nonetheless remained on the film scene as a dependable general purpose actor, appearing in such small but attention-getting roles as Dr. Pierce, the retirement-home physician who explains the eccentricities of "Kris Kringle" (Edmund Gwenn) in Miracle on 34th Street (1947). In the 1950s, James Seay joined the ranks of horror and sci-fi movie "regulars;" he could be seen in films like The Day the Earth Stood Still (1951), Killers from Space (1954), The Beginning of the End (1957), and--as the luckless military officer who is skewered by a gigantic hypodermic needle--The Amazing Colossal Man (1957).

Trivia: Already a character player in his 30s, American actor Robert Cornwaithe was frequently called upon to play scientific and learned types in such films as War of the Worlds (1953) and The Forbin Project (1971). He was also busy on TV, portraying lawyers, officials and the like on such series as The Andy Griffith Show, Batman (in the "Archer" episode with Art Carney), Gidget, Laverne and Shirley and The Munsters. Cornwaithe earned his niche in the Science Fiction Film Hall of Fame for his performance in The Thing (1951); grayed up, bearded, and looking suspiciously Russian, the actor played the foolhardy Professor Carrington, whose insipidly idealistic efforts to communicate with the extraterrestrial "Thing" nearly gets him killed. In honor of this performance, Robert Cornwaithe was cast as a similar well-meaning scientist in "Mant," the giant-insect film within a film in Joe Dante's Matinee (1993), wherein Cornwaithe shared screen time with two equally uncredited horror-film icons, William Schallert and Kevin McCarthy.

Trivia: A graduate of the University of Michigan, Strother Martin was the National Junior Springboard Diving Champion when he came to Hollywood as a swimming coach in the late 1940s. He stuck around Lala-land to play a few movie bits and extra roles before finally receiving a role of substance in The Asphalt Jungle (1950). Lean and limber in his early day, Martin was frequently cast in parts which called upon his athletic prowess (e.g. a drawling big-league ball player in 1951's Rhubarb). As his face grew more pocked and his body more paunched with each advancing year, Martin put his reedy, whiny voice and sinister squint to excellent use as a villain, most often in westerns. It took him nearly 20 years to matriculate from character actor to character star. In 1967, Martin skyrocketed to fame as the sadistic prison-farm captain in Cool Hand Luke: his character's signature line, "What we have here is a failure t' communicate," became a national catchphrase. While he continued accepting secondary roles for the rest of his career, Martin was awarded top billing in two sleazy but likeable programmers, Brotherhood of Satan (1971) and Ssssssss (1973). A veteran of scores of television shows, Strother Martin was seen on a weekly basis as Aaron Donager in Hotel De Paree (1959) and as star Jimmy Stewart's country cousin in Hawkins (1973).

Trivia: Australian actress Marjorie Bennett made her first film appearances in the pre-World War I years at the suggestion of her sister, silent film star Enid Bennett. Marjorie wasn't yet under the spell of the acting bug, so she abandoned performing for several years, re-emerging as a stage rather than screen actress. She returned to films in the late 1940s as a character player, notably in Charles Chaplin's Monsieur Verdoux (1947) and Limelight (1952). A prolific film and TV performer of the 1950s and 1960s, Marjorie Bennett was usually cast as huffy society matrons and haughty domestics; her massive bulk and easily outraged demeanor made her a perfect straight woman for such iconoclastic comedians as Red Skelton and the Three Stooges.

Trivia: Muscular utility actor Paul Richards first appeared onscreen in 1951's Fixed Bayonets. He spent the rest of the decade playing roles of all sizes in action films and Westerns. His TV guest star credits include the first episode of Gunsmoke, in which he shocked millions of viewers by gunning down Matt Dillon before the middle commercial. A more benign Paul Richards starred as personable psychiatrist Dr. McKinley "Mac" Thompson in the 1963 TV medical series The Breaking Point.

Trivia: Gaunt, rich-voiced British actor Leonard Mudie made his stage bow in 1908 with the Gaiety Theater in Manchester. Mudie first appeared on the New York stage in 1914, then spent the next two decades touring in various British repertory companies. In 1932, he settled in Hollywood, where he remained until his death 33 years later. His larger screen roles included Dr. Pearson in The Mummy (1932), Porthinos in Cleopatra (1934), Maitland in Mary of Scotland (1936), and De Bourenne in Anthony Adverse (1936). He also essayed dozen of unbilled bits, usually cast as a bewigged, gimlet-eyed British judge. One of his more amusing uncredited roles was as "old school" actor Horace Carlos in the 1945 Charlie Chan entry The Scarlet Clue, wherein he explained his entree into the new medium of television with a weary, "Well, it's a living!" Active well into the TV era, Leonard Mudie showed up memorably in a handful of Superman video episodes and was a semi-regular as Cmdr. Barnes in the Bomba B-picture series.