Trivia: Hollywood legend has it that Bette Davis was forced to talk to a blank wall rather than her co-star Henry Fonda during filming of her close-ups in Jezebel; the reason was that he had repaired to New York to attend the birth of his daughter Jane. A child of privilege, the young Jane Fonda exhibited the imperious, headstrong attitude and ruthlessness that would distinguish both her film work and her private life. The teenage Fonda wasn't keen on acting until she worked with her father in a 1954 Omaha Community Theatre production of The Country Girl. Slightly interested in pursuing a stage career at that point, Fonda nonetheless studied art both at Vassar and in Europe, returning to the States to work as a fashion model. Studying acting in earnest at Lee Strasberg's Actors' Studio, Fonda ultimately starred on Broadway in Tall Story, then made her film debut by re-creating this stage appearance in 1960. A talented but not really distinctive player at that time, Fonda astonished everyone (none as much as her father) by becoming one of the first major American actresses to appear nude in a foreign film. This was La Ronde (1964), directed by her lover (and later her first husband) Roger Vadim. The event was heralded by a giant promotional poster in New York's theater district, with Fonda's naked backside in full view for all of Manhattan to see. Vadim decided to mold Fonda into a "sex goddess" in a series of lush but forgettable films; the best Fonda/Vadim collaboration was Barbarella (1968), which scored as much on the actress' sharp comic timing (already evidenced in such American pictures as Cat Ballou [1965]) as it did on her kinky costuming. In the late '60s, Fonda underwent another career metamorphosis when she became involved in the anti-Vietnam War movement. Her notorious visit to North Vietnam at the height of the conflict earned her the sobriquet "Hanoi Jane," as well as the enmity of virtually every ex-GI who fought in Southeast Asia. Even so, Fonda's film stardom ascended in the early '70s; in 1971, she won the first of two Oscars for her portrayal of a high-priced prostitute in Klute (her other was for Coming Home [1978]), and Fonda's career flourished despite a sub-rosa Hollywood campaign to discredit the actress and spread idiotic rumors about her subversive behavior (one widely circulated fabrication had Fonda destroying the only existing negative of Stagecoach because she despised John Wayne).In the 1980s, the actress realized several personal and career milestones: she worked with her father on film for the only time in On Golden Pond (1981); she assisted former peace activist Tom Hayden, whom she had married in the early '70s, in his successful bid for the California State Assembly; and she launched the first of several best-selling exercise videos. She also won an Emmy for her performance in the TV movie The Dollmaker (1984). After her marriage to Hayden ended in the early '80s, Fonda married media mogul Ted Turner in 1991 (the couple would divorce in 2000), and began curtailing her film appearances, all but retiring from the screen after her lead role opposite Robert De Niro in 1990s Stanley & Iris. Fonda was no less the social activist in the 1990s than she was two decades earlier; among her projects was the production of several "revisionist" dramatic specials and documentaries about the history of Native Americans, duly telecast on Turner's various worldwide cable services.Just when it seemed audiences might have seen the last of Fonda on the big screen, she proved that she had no intention of retiring. The 2000's would see the veteran actress continuing to star in a vareity of projects, like Monster-in-Law, Georgia Rule, and Peace, Love, & Misunderstanding.

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: Michael (aka Mickey) Callan gained fame at the age of 21 when he originated the role of Riff in the Broadway production of West Side Story. For several years, Callan specialized in similar roles on TV and films, while pursuing a second career as a nightclub singer. His gift for light comedy was first exploited in Disney's Bon Voyage (1962), then further refined in his performance as Jane Fonda's amour in Cat Ballou (1965). While Callan was co-starring with Patricia Hardy in the 1967 sitcom Occasional Wife, the two became husband and wife in real life as well as "reel" life. In 1982, Michael Callan both produced and starred in Double Exposure.

Trivia: The younger brother of former child star Darryl Hickman, Dwayne Hickman was himself a professional actor from the age of 10. Dwayne's early film roles were essentially bits; one of his first worthwhile assignments was a 1950 episode of TV's The Lone Ranger, in which he played a young orphan who grew up to be a character played by his older brother. After guesting on such series as The Stu Erwin Show, Hickman was cast as Bob Cummings' girl-happy nephew Chuck on the popular sitcom Love That Bob (1954-58). Claiming to have no natural talent, Hickman has insisted that he learned everything he knows about comic acting from Cummings, whom he admired to the point of idolatry. In 1958, he landed his first major screen role, playing a small-town Brando wannabe in Rally Round the Flag Boys. Max Shulman, author of the novel upon which the film was based, was impressed by Hickman, and recommended that the actor be starred in another Shulman adaptation, the weekly TV series The Many Loves of Dobie Gillis. During the Dobie run, Hickman briefly enjoyed Top-40 radio airplay with his recording of the folk-song parody "I'm a Lover, Not a Fighter." When Dobie Gillis folded in 1963, Hickman returned to feature films, offering comedy support to Jane Fonda in Cat Ballou (1965) and Frankie Avalon in The Goldfoot and the Bikini Machine (1966). Temporarily retiring from acting in 1970, Hickman worked as a publicist, and later as entertainment director of Las Vegas' Landmark Hotel. In 1977, he followed brother Darryl's lead by joining the production staff at CBS television. Hickman served as CBS' executive in charge of daytime programming, and as supervisor of the network's comedy series. Every so often, he'd accept an acting role, and on two occasions revived his Dobie Gillis characterization for a brace of "retro" TV movies. In 1994, Dwayne Hickman and his wife Joan collaborated on his autobiography, Forever Dobie.

Trivia: John Marley's craggy face, cement-mixer voice and shock of white hair were familiar to stagegoers from the 1930s onward. Marley started out as one-half of a comedy team, but soon found that his true metier was drama. In films on an infrequent basis since 1941, Marley stepped up his moviemaking activities in the mid-1960s, playing such sizeable roles as Jane Fonda's father in Cat Ballou (1965). He won a Venice Film Festival award for his performance as a miserable middle-aged husband in John Cassavetes' Faces (1968), and was Oscar-nominated for his portrayal of Ali MacGraw's blue-collar dad in Love Story. Arguably Marley's most unforgettable assignment was The Godfather (1972), in which, as movie mogul Lou Woltz, he wakes up to find himself sharing his bed with a horse's head. John Marley's television work included a regular role on the obscure NBC daytime drama Three Steps to Heaven.

Trivia: The last in a long line of British actors, Reginald Denny left school at 16 to enter the family trade. His first important assignment was the role of Prince Danilo in a travelling company of The Merry Widow. He first came to the U.S. in a 1912 production of Quaker Girl, then returned to England to star in musical productions. After World War I service as a Lieutenant in the 112th squadron of the British Flying Corps, Denny appeared in several Broadway productions and made his film bow at the New Jersey-based world film studios. Hired on the basis of his finely tuned physiques, Denny starred in Universal's boxing short-subject series The Leather Pushers before being promoted to features. During the 1920s, Denny was one of Universal's most popular stars, headlining a series of frothy domestic comedies, most of which co-starred Laura LaPlante and were directed by William A. Seiter. In talkies, Denny's British accent made it difficult for him to continue in the "all-American" roles he'd been playing at Universal, but he continued to flourish as a character actor, showing up in everything from Romeo and Juliet (1936) to Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (1937). He also played the "silly ass" second lead of Algy in several Bulldog Drummond "B" pictures. Since his World War I experience, Denny remained active in aviation; he was a pioneer in the field of radio-controlled aircraft. In fact, the U.S. Navy prototype radio aircraft TDD was named in his honor (the initials stood for Target Drone Denny). A busy actor on films and television into the 1960s, Reginald Denny returned to Broadway in 1958 to replace Robert Coote as Col. Pickering in My Fair Lady.

Trivia: Discovered by famed African-American comedian Bert Williams, actor Jay C. Flippen attained his first Broadway stage role in 1920's Broadway Brevities. Entertainers of the period were expected to sing, dance, act and clown with equal expertise, and the young Flippen was no slouch in any of these categories. He not only shared billing with such stage luminaries as Jack Benny and Texas Guinan, but he boned up on his ad-lib skills as a radio announcer for the New York Yankees games. At one time president of the American Guild of Variety Artists, Flippen did as many benefits for worthy causes as he did paid performances and worked tirelessly in all showbiz branches: movies, stage (including the touring version of Olsen and Johnson's Hellzapoppin), radio (he was one of the first game show emcees) and even early experimental television broadcasts. After several years of alternating between raspy-voiced villains and lovable "Pop"- type characters in films, Flippen increased his fan following with a supporting role as C.P.O. Nelson on the 1962 sitcom Ensign O'Toole, which, though it lasted only one network season, was a particular favorite in syndicated reruns. In 1964, Flippen suffered a setback when a gangrenous leg had to be amputated. Choosing not to be what he described as "a turnip," Jay C. Flippen continued his acting career from a wheelchair, performing with vim and vinegar in films and on television until his death.

Trivia: One of the youngest "old codgers" in show business, Arthur Hunnicutt left college when funds ran out and joined an acting troupe in Martha's Vineyard, Massachusetts. His first important New York engagement was in the Theatre Guild's production of Love's Old Sweet Song. Hunnicutt entered films in 1942, specializing in grizzled western sidekicks even though he was only in his early 30s. When Percy Kilbride retired from the "Ma and Pa Kettle" series in 1955, Hunnicutt, still a youngster in comparison to Kilbride's sixtysomething co-star Marjorie Main, filled the gap in The Kettles in the Ozarks (1955). And when director Howard Hawks needed someone to play a Walter Brennan-type role when Brennan wasn't available for The Big Sky (1952) and El Dorado (1967), Hunnicutt was the man of the hour (his work in Big Sky won him an Oscar nomination). Arthur Hunnicutt was last seen in 1975's The Moonrunners, at long playing someone closer to his own age.

Trivia: Nat "King" Cole is best remembered as an extremely popular and influential jazz and pop artist whose career spanned the mid-'30s through the early '60s -- some of his biggest hits include "Mona Lisa" and "Unforgettable" -- but he also made a few appearances in film. As an actor, his most famous role is that of W.C. Handy in St. Louis Blues (1958). The father of pop singer Natalie Cole, he was only 46 when he died of lung cancer.

Trivia: Rotund musical comedy actor Stubby Kaye was a 1939 winner on Major Bowes' Amateur Hour radio program. He spent much of World War II touring USO bases, developing an ingratiating comic style that has dimmed but little with the passage of time. Earlier efforts by movie historians to determine Mr. Kaye's real name have been fruitless, but it should be noted that someone named "Stubby Kruger" appeared as comedy relief in several PRC films of the early 1940s. Kayes' popularity soared when he created the role of Nicely-Nicely Johnson in the 1950 Broadway hit Guys and Dolls, a part that he re-created with equal success in the 1955 film version. Another Broadway-to-Hollywood triumph for Kaye was the part of Marryin' Sam in the musical version of Li'l Abner. In 1965, Kaye hosted a Saturday morning TV kiddie series titled Shenanigans, commuting on a weekly basis between the U.S. and London, where he was simultaneously hosting a similar children's TV program. Stubby Kaye's last screen appearance was as the ill-fated funster Marvin Acme in 1988's Who Framed Roger Rabbit? He made his final television appearance that same year in the telepic The Big Knife.

Trivia: After attending the University of the South in Tennessee, Bruce Cabot bounced around from job to job: working on a tramp steamer, selling insurances, even hauling away the bones of dead animals. While attending a Hollywood party, Cabot met RKO producer David O. Selznick, which resulted in Cabot's first film appearance in Roadhouse Murder. His most famous role while at RKO was as the heroic Jack Driscoll in King Kong (1933), rescuing Fay Wray from the hairy paws of the 50-foot ape. Thereafter, Cabot was most often seen in villainous, brutish roles. It is hard to imagine anyone more venomous or vicious than Bruce Cabot in such roles as the scarred gangster boss in Let 'Em Have It (1936), the treacherous Magua in Last of the Mohicans (1936), or the thick-skulled lynch-mob instigator in Fury (1936). During World War II, Cabot worked in army intelligence and operations in Africa, Sicily and Italy. A good friend of John Wayne, Cabot was frequently cast in "The Duke's" vehicles of the 1960s, including The Green Berets (1968). Among Bruce Cabot's three wives were actresses Adrienne Ames and Francesca de Scaffa.

Trivia: Life literally began at 60 for American actor Burt Mustin, who didn't enter show business until that age and didn't make his film debut until Detective Story (1951), at which time he was 68. After a decade of uncredited movie roles as hillbilly patriarchs and Town's Oldest Citizens, Mustin began getting name recognition for numerous TV appearances in the late '50s and early '60s. The actor was a particular favorite of producer/actor Jack Webb, who cast Mustin several times on Dragnet; in one episode Burt was an octogenarian burglar, and in another was a retired detective who solved a murder case - and chewed out a young cop for not knowing the proper way to take fingerprints! Situation comedy producers made good use of Burt Mustin as well, and he was featured in innumerable cameos on such programs as The Dick Van Dyke Show, Get Smart and The Jack Benny Program, usually stealing most of the laughs from the stars. Mustin had regular TV roles as eccentric neighbor Finley on Date with the Angels, Gus the Fireman on Leave It to Beaver, barber shop patron Jud Crowley on The Andy Griffith Show, the amorous senior-citizen husband of Queenie Smith on The Funny Side, and nursing-home refugee Justin Quigley on All in the Family. Mustin got the biggest press coverage of his career when, in character as Arthur Lanson, he married Mother Dexter - played by 82-year-old Judith Lowry - on the December 13, 1976 episode of Phyllis. It was a hilarious and, in retrospect, poignant moment in TV history: Judith Lowry had died a few days before the program was aired, and Burt Mustin, who was too ill to watch the show, passed away six weeks later.

Trivia: American actor Robert Phillips played supporting roles on television and in feature films of the '60s, '70s, and '80s. Phillips specializes in playing villains. His daughter, Barbara Livermore, is also an actress.

Trivia: Diminutive, frequently mustached character actor Charles Wagenheim made the transition from stage to screen in or around 1940. Wagenheim's most memorable role was that of "The Runt" in Meet Boston Blackie (1941), a part taken over by George E. Stone in the subsequent "Boston Blackie" B-films. Generally cast in unsavory bit parts, Wagenheim's on-screen perfidy extended from Hitchcock's Foreign Correspondent (1940) to George Stevens' Diary of Anne Frank (1959), in which, uncredited, he played the sneak thief who nearly gave away the hiding place of the Frank family. Wagenheim kept his hand in the business into the 1970s in films like The Missouri Breaks (1976). In 1979, 83-year-old Charles Wagenheim was bludgeoned to death by an intruder in his Hollywood apartment, five days before another veteran actor, Victor Kilian, met the same grisly fate.

Trivia: Actor Harry Harvey Sr. started out in minstrel shows and burlesque. His prolific work in Midwestern stock companies led to film assignments, beginning at RKO in 1934. Harvey's avuncular appearance (he looked like every stage doorman named Pop who ever existed) won him featured roles in mainstream films and comic-relief and sheriff parts in B-westerns. His best known "prestige" film assignment was the role of New York Yankees manager Joe McCarthy in the 1942 Lou Gehrig biopic Pride of the Yankees. Remaining active into the TV era, Harry Harvey Sr. had continuing roles on two series, The Roy Rogers Show and It's a Man's World, and showed up with regularity on such video sagebrushers as Cheyenne and Bonanza.

Trivia: Actor Joe Hamilton staffed a few films of the '50s and '60s.

Trivia: Charles Horvath entered films in the immediate postwar years as a stunt man. From 1951 onward, Horvath began receiving speaking roles, most often in westerns. He occasionally accepted contemporary parts, playing rednecks and toughs in such films as Damn Citizen (1957). Charles Horvath spent his last decade playing featured roles in films like A Woman Under the Influence (1974) and The Domino Principle (1977).

Trivia: Chuck Roberson was a rancher before serving in World War II. Upon his discharge, he sought out film work as a stunt man. While under contract to Republic Pictures, Roberson doubled for John Wayne in Wake of the Red Witch (1948). Thereafter, he worked in virtually all of Wayne's films as stunt double, action coordinator, second-unit director and bit actor. His best speaking part was Sheriff Lordin in the Duke's McClintock (1963). Chuck Roberson's career served as the inspiration for the Lee Majors TV series The Fall Guy (1981-86).

Trivia: Diminutive New York native Nick Cravat spent his first two decades in show business as a circus and carnival acrobat. From the mid-'30s to the early '40s, he was the smaller half of the Lang and Cravat trapeze act; "Lang" was his childhood pal Burt Lancaster. While it is commonly assumed that Cravat made his first screen appearances in tandem with Lancaster, his film debut was in fact My Friend Irma (1949), which starred Diana Lynn, Marie Wilson, and Martin and Lewis. He did, of course, show up quite often in Lancaster's starring features, beginning with The Flame and the Arrow (1950) and ending with The Island of Dr. Moreau (1977). In the delightful The Crimson Pirate (1952), Cravat was afforded co-star billing with Lancaster, above leading lady Eva Bartok. Because he so often played a mute, many filmgoers believed that Cravat was genuinely non-verbal; actually, he possessed so thick and pronounced an East Coast accent that he was averse to mouthing dialogue. Outside of his work with Lancaster, Cravat is best remembered for one of his uncredited appearances: as the "thing on the wing" in the 1963 Twilight Zone installment "Nightmare at 20,000 Feet."