Trivia: Once quoted as saying "I've made a career of playing sons of bitches," Kirk Douglas is considered by many to be the epitome of the Hollywood hard man. In addition to acting in countless films over the course of his long career, Douglas has served as a director and producer, and will forever be associated with his role in helping to put an end to the infamous Hollywood black list.Douglas (born Issur Danielovitch) was the son Russian Jewish immigrant parents in Amsterdam, NY, on December 9, 1916. He waited tables to finance his education at St. Lawrence University, where he was a top-notch wrestler. While there, he also did a little work in the theater, something that soon gave way to his desire to pursue acting as a career. After some work as a professional wrestler, Douglas held various odd jobs, including a stint as a bellhop, to put himself through the American Academy of Dramatic Arts. In 1941, he debuted on Broadway, but had only two small roles before he enlisting in the Navy and serving in World War II. Following his discharge, Douglas returned to Broadway in 1945, where he began getting more substantial roles; he also did some work on radio. After being spotted and invited to Hollywood by producer Hal Wallis, Douglas debuted onscreen in The Strange Love of Martha Ivers (1946), but he did not emerge as a full-fledged star until he portrayed an unscrupulously ambitious boxer in Champion (1949); with this role (for which he earned his first Oscar nomination), he defined one of his principle character types: a cocky, selfish, intense, and powerful man. Douglas fully established his screen persona during the '50s thanks to strong roles in such classics as Billy Wilder's Ace in the Hole (1951), William Wyler's Detective Story (1951), and John Sturges' Gunfight at the O.K. Corral (1957). He earned Oscar nominations for his work in The Bad and the Beautiful (1952) and Lust for Life (1956), both of which were directed by Vincente Minnelli. In 1955, the actor formed his own company, Bryna Productions, through which he produced both his own films and those of others, including Stanley Kubrick's Paths of Glory (1957) and Spartacus (1960); both of these movies would prove to be two of the most popular and acclaimed of Douglas' career. In 1963, he appeared on Broadway in Ken Kesey's One Flew over the Cuckoo's Nest, but was never able to interest Hollywood in a film version of the work; he passed it along to his son Michael Douglas (a popular actor/filmmaker in his own right), who eventually brought it to the screen to great success.During the '60s, Douglas continued to star in such films as John Huston's The List of Adrian Messenger (1963) and John Frankenheimer's Seven Days in May (1964), both of which he also produced. He began directing some of his films in the early '70s, scoring his greatest success as the director, star, and producer for Posse (1975), a Western in which he played a U.S. marshal eager for political gain. Though he continued to appear in films, by the '80s Douglas began volunteering much of his time to civic duties. Since 1963, he had worked as a Goodwill Ambassador for the State Department and the USIA, and, in 1981, his many contributions earned him the highest civilian award given in the U.S., the Presidential Medal of Freedom. For his public service, Douglas was also given the Jefferson Award in 1983. Two years later, the French government dubbed him Chevalier of the Legion of Honor for his artistic contributions. Other awards included the American Cinema Award (1987), the German Golden Kamera Award (1988), and the National Board of Review's Career Achievement Award (1989). In 1995, the same year he suffered a debilitating stroke, Douglas was presented with an honorary Oscar by the Academy; four years later, he was the recipient of the American Film Institute's Lifetime Achievement Award, an honor that was accompanied by a screening of 16 of his films. In addition to his film work, Douglas has also written two novels: Dance with the Devil (1990) and The Secret (1992). He published his autobiography, The Ragman's Son, in 1988.In March of 2009, Douglas starred Before I Forget, a one man show that took place at the Center Theater Group's Kirk Douglas Theatre in Culver City, California. All four performances of the show were filmed and later made into a documentary that eventually screened in 2010. The following year, Douglas presented the Oscar for Best Supporting Actress at the 83rd Academy Awards.

Trivia: American actress Patrice Wymore first stepped on-stage at age six during a Chautauqua tent show. Her mother, a pianist and singer on the tent circuit, trained Wymore for a performing career. At age 16, she hit the road for New York with money given her by her trucking-line executive father. Thanks to her musical training, Wymore was cast in several Broadway musicals, notably Hold It and All for Love. In 1949, she was signed to a movie contract by Warner Bros. Her first appearance was a singing role in Tea for Two (1950), co-starring with Doris Day and Gordon MacRae. Wymore was then cast opposite Errol Flynn in Rocky Mountain (1950); she and Flynn fell in love and were married shortly afterward. The union produced a daughter, Arnella, in 1953. Unfortunately, Flynn was on the downward spiral thanks to 25 years' worth of high living and an increasing dependence upon barbituates. Wymore retired from her career to stay by her husband's side, buoying his self-confidence and offering strong moral support during these darkest years of his life, until the situation became impossible. Though separated from Flynn at the time of his death in 1959, Wymore was still his widow -- a status hotly contested by Flynn's final amour, 16-year-old Beverly Aadland, who had both eyes on the Flynn estate. Picking up the pieces after Flynn's demise, Wymore hit the nightclub trail as a singer, gradually building up a following in regional productions of such musicals as Guys and Dolls and Irma La Douce. Patrice Wymore's comeback was complete upon her being cast in the 1965 ABC soap opera Never Too Young and in the 1966 Warner Bros. chiller Chamber of Horrors (1966). Sitcom fans will remember her comic appearance as "black widow" Hermione Gooderly on a 1966 episode of F Troop. She died in 2014.

Trivia: Intending to become a dentist like his father, American actor Edgar Buchanan wound up with grades so bad in college that he was compelled to take an "easy" course to improve his average. Buchanan chose a course in play interpretation, and after listening to a few recitations of Shakespeare he was stagestruck. After completing dental school, Buchanan plied his oral surgery skills in the summertime, devoting the fall, winter and spring months to acting in stock companies and at the Pasadena Playhouse in California. He was given a screen test by Warner Bros. studios in 1940, received several bit roles, then worked himself up to supporting parts upon transferring to Columbia Pictures. Though still comparatively youthful, Buchanan specialized in grizzled old westerners, with a propensity towards villainy or at least larceny. The actor worked at every major studio (and not a few minor ones) over the next few years, still holding onto his dentist's license just in case he needed something to fall back on. Though he preferred movie work to the hurried pace of TV filming, Buchanan was quite busy in television's first decade, costarring with William Boyd on the immensely popular Hopalong Cassidy series, then receiving a starring series of his own, Judge Roy Bean, in 1954. Buchanan became an international success in 1963 thanks to his regular role as the lovably lazy Uncle Joe Carson on the classic sitcom Petticoat Junction, which ran until 1970. After that, the actor experienced a considerably shorter run on the adventure series Cade's County, which starred Buchanan's close friend Glenn Ford. Buchanan's last movie role was in Benji (1974), which reunited him with the titular doggie star, who had first appeared as the family mutt on Petticoat Junction.

Trivia: The son of a patent medicine manufacturer, American actor Alan Hale chose a theatrical career at a time when, according to his son Alan Hale Jr., boarding houses would post signs reading "No Dogs or Actors Allowed." Undaunted, Hale spent several years on stage after graduating from Philadelphia University, entering films as a slapstick comedian for Philly's Lubin Co. in 1911. Bolstering his acting income with odd jobs as a newspaperman and itinerant inventor (at one point he considered becoming an osteopath!), Hale finally enjoyed a measure of security as a much-in-demand character actor in the 1920s, usually as hard-hearted villains. One of his more benign roles was as Little John in Douglas Fairbanks' Robin Hood (1922), a role he would repeat opposite Errol Flynn in 1938 and John Derek in 1950. Talkies made Hale more popular than ever, especially in his many roles as Irishmen, blusterers and "best pals" for Warner Bros. Throughout his career, Hale never lost his love for inventing things, and reportedly patented or financed items as commonplace as auto brakes and as esoteric as greaseless potato chips. Alan Hale contracted pneumonia and died while working on the Warner Bros. western Montana (1950), which starred Hale's perennial screen cohort Errol Flynn.

Trivia: Tall, silver-maned character actor Roy Roberts began his film career as a 20th Century-Fox contractee in 1943. Nearly always cast in roles of well-tailored authority, Roberts was most effective when conveying smug villainy. As a hotel desk clerk in Gentleman's Agreement (1947), he suavely but smarmily refused to allow Jews to check into his establishment; nineteen years later, Roberts was back behind the desk and up to his old tricks, patronizingly barring a black couple from signing the register in Hotel (1966). As the forties drew to a close, Roberts figured into two of the key film noirs of the era; he was the carnival owner who opined that down-at-heels Tyrone Power had sunk so low because "he reached too high" at the end of Nightmare Alley (1947), while in 1948's He Walked By Night, Roberts enjoyed one of his few sympathetic roles as a psycho-hunting plainclothesman. And in the 3-D classic House of Wax, Roberts played the crooked business partner of Vincent Price, whose impulsive decision to burn down Price's wax museum has horrible consequences. With the role of bombastic Captain Huxley on the popular Gale Storm TV series Oh, Susanna (1956-1960), Gordon inaugurated his dignified-foil period. He later played long-suffering executive types on The Beverly Hillbillies, Petticoat Junction and The Lucy Show. Roy Roberts last appeared on screen as the mayor in Roman Polanski's Chinatown (1974).

Trivia: A handsome, dark-haired silent-screen leading man with a widow's peak, Charles Meredith appeared opposite some of the era's great leading ladies, including Marguerite Clark, Blanche Sweet, Mary Miles Minter, Katherine MacDonald, and Florence Vidor. Between 1924 and 1947, Meredith concentrated on the legitimate stage, then returned to film as a distinguished character actor, playing the judge in Joan Crawford's Daisy Kenyon (1947), the High Priest in DeMille's Samson and Delilah (1949), and an admiral in Submarine Command (1952). Continuing well into the television era, the veteran actor had continuing roles in two short-lived series: Rocky Jones, Space Ranger (1954) and Erle Stanley Garner's Court of Last Resort.

Trivia: There's a bit of a cloud surrounding the origins of character actor Harry Cording. The 1970 biographical volume The Versatiles lists his birthplace as New York City, while the exhaustive encyclopedia Who Was Who in Hollywood states that Cording was born in England. Whatever the case, Cording made his mark from 1925 through 1955 in distinctly American roles, usually portraying sadistic western bad guys. A break from his domestic villainy occurred in the 1934 Universal horror film The Black Cat, in which a heavily-made-up Harry Cording played the foreboding, zombie-like servant to Satan-worshipping Boris Karloff.

Trivia: By the time she first appeared as Grandma Walton in 1971, American actress Ellen Corby had been playing elderly characters for nearly thirty years--and she herself was still only in her fifties. The daughter of Danish immigrants, Ellen Hansen was born in Wisconsin and raised in Philadelphia; she moved to Hollywood in 1933 after winning several amateur talent shows. Her starring career consisted of tiny parts in low-budget Poverty Row quickies; to make a living, Ellen became a script girl (the production person responsible for maintaining a film's continuity for the benefit of the film editor), working first at RKO and then at Hal Roach studios, where she met and married cameraman Francis Corby. The marriage didn't last, though Ellen retained the last name of Corby professionally. While still a script girl, Ellen began studying at the Actors Lab, then in 1944 decided to return to acting full time. She played several movie bit roles, mostly as servants, neurotics, and busybodies, before earning an Oscar nomination for the role of Trina the maid in I Remember Mama (1948). Her career fluctuated between bits and supporting parts until 1971, when she was cast as Grandma Walton in the CBS movie special The Homecoming. This one-shot evolved into the dramatic series The Waltons in 1972, with Ms. Corby continuing as Grandma. The role earned Ellen a "Best Supporting Actress" Emmy award in 1973, and she remained with the series until suffering a debilitating stroke in 1976. After a year's recuperation, Ellen returned to The Waltons, valiantly carrying on until the series' 1980 cancellation, despite the severe speech and movement restrictions imposed by her illness. Happily, Ellen Corby endured, and was back as Grandma in the Waltons reunion special of the early '90s.

Trivia: Originally intending to become a journalist, William Challee abandoned this dream when he began appearing in Chicago-based theatrical productions. Challee's Broadway career reached its peak in the late '30s with Wonder Boy. In films from 1943, he was usually seen as well-dressed gangsters, pushy reporters, and grim military officers. William Challee's later credits included such roles as Nicholas Duprea in the Jack Nicholson starrer Five Easy Pieces.

Trivia: A genuine westerner, Lane Chandler, upon leaving Montana Wesleyan College, moved to LA and worked as a garage mechanic while seeking out film roles. After several years in bit parts, Chandler was signed by Paramount in 1927 as a potential western star. For a brief period, both Chandler and Gary Cooper vied for the best cowboy roles, but in the end Paramount went with Cooper. Chandler made several attempts to establish himself as a "B" western star in the 1930s, but his harsh voice and sneering demeanor made him a better candidate for villainous roles. He mostly played bits in the 1940s, often as a utility actor for director Cecil B. DeMille. The weather-beaten face and stubbly chin of Lane Chandler popped up in many a TV and movie western of the 1950s, his roles gradually increasing in size and substance towards the end of his career.

Trivia: Ben Frommer was the epitome of the successful character actor. Across a screen career totaling more than 40 years, he worked in over 100 film roles and possibly twice as many parts on television, ranging from just a few seconds of screen time in feature films to regular work on one of the more popular western series of the mid-1960s. And in virtually all of it, as with so many of the best people in his profession, he melted so well into the parts he played that audiences were seldom possessed to even ask his name. Ironically, it was in one of the cheapest -- and perhaps THE cheapest -- production on which he ever worked, in a part scarcely larger, or of longer duration than his typical background and supporting role, that Frommer earned his lingering name recognition. Born in Poland in 1913, Frommer arrived in Hollywood as an actor in the early 1940s, making his screen bow with an uncredited appearance in the 1943 Olsen & Johnson vehicle Crazy House. He next showed up in a bit part in the Laurence Tierney-starring film noir Born To Kill (1947). Frommer's short stature and fireplug-like physique, coupled with his rough-hewn features, made him ideal for playing working-class background parts such as deliverymen and taxi drivers. Most of his work was in lower-budgeted films, including exploitation fare such as Sid Melton's Bad Girls Do Cry (shot in the mid-1950s but not issued till much later). And it was in low-budget films -- some of the lowest budgeted ever made, in fact -- that Frommer would achieve a form of immortality as an actor.It was writer/producer/director Edward D. Wood, Jr. who gave Frommer the opportunity to play a slightly wider range of parts. In Bride Of the Monster, Frommer was cast as a surly drunk, while in Wood's magnum opus, Plan 9 From Outer Space, he is the mourner who is charged by the script with providing the explanation as to why the old man (played by Bela Lugosi in footage shot for a movie that was never made) is buried in a crypt, while his wife (Maila "Vampira" Nurmi) is buried in the ground. The dialogue is as awkward as anything else in the notoriously poorly made (but thoroughly entertaining) movie, but Frommer does his best to deliver it convincingly, in what was almost certainly one very rushed take. Around this time, Frommer also showed up in the horror film Cult of the Cobra and the outsized production of Around The World In 80 Days, and a lot more television as well -- he also began providing voices for animated productions, a professional activity that would occupy ever more of his time later in his career. He worked in pictures by John Ford (The Man Who Shot Liberty Valance), Alfred Hitchcock (Torn Curtain), and Mervyn LeRoy (Gypsy), but it was during this same period, from 1965 through 1967, that Frommer achieved his widest weekly exposure on television, when he was cast in the comedic western series F-Troop in the role of Smokey Bear, the squat, chunky (and uncredited) member of the Hekawi Indian tribe. He usually did little more than hold the reigns of the horses ridden by Forrest Tucker and Larry Storch's characters, but he was impossible to miss in a shot.Frommer remained a very busy character actor and voice-actor over the next two decades, and only slowed down during his final years in the profession. During that time, he took on the new profession of publicist for his fellow actors. He died in 1992 at the age of 78.

Trivia: Ohio-born Fred Kelsey was so firmly typed as a comedy cop in Hollywood films that in the 1944 MGM cartoon classic Who Killed Who?, animator Tex Avery deliberately designed his detective protagonist to look like Kelsey -- mustache, heavy eyebrows, derby hat and all. In films from 1909, Kelsey started out as a director (frequently billed as" Fred A. Kelcey"), but by the '20s he was well into his established characterization as the beat cop or detective who was forever falling asleep on the job or jumping to the wrong conclusion. Often Kelsey's dialogue was confined to one word: "Sayyyyy....!" He seemed to be busiest at Warner Bros. and Columbia, appearing in fleeting bits at the former studio (butchers, bartenders, house detectives), and enjoying more sizeable roles in the B-films, short subjects and serials at the latter studio. From 1940 through 1943, Kelsey had a continuing role as dim-witted police sergeant Dickens in Columbia's Lone Wolf B-picture series. Seldom given a screen credit, Fred Kelsey was curiously afforded prominent featured billing in 20th Century-Fox's O. Henry's Full House (1952), in which he was barely recognizable as a street-corner Santa Claus.

Trivia: One look at Alan Hale Jr. and no one could ever assume he was adopted; Hale Jr. so closely resembled his father, veteran character actor Alan Hale Sr., that at times it appeared that the older fellow had returned to the land of the living. In films from 1933, Alan Jr. was originally cast in beefy, athletic good-guy roles (at 6'3", he could hardly play hen-pecked husbands). After the death of his father in 1950, Alan dropped the "Junior" from his professional name. He starred in a brace of TV action series, Biff Baker USA (1953) and Casey Jones (1957), before his he-man image melted into comedy parts. From 1964 through 1967, Hale played The Skipper (aka Jonas Grumby) on the low-brow but high-rated Gilligan's Island. Though he worked steadily after Gilligan's cancellation, he found that the blustery, slow-burning Skipper had typed him to the extent that he lost more roles than he won. In his last two decades, Alan Hale supplemented his acting income as the owner of a successful West Hollywood restaurant, the Lobster Barrel.

Trivia: Trained as a dancer by Marge Champion's father Ernest Belcher, Iris Adrian began her performing career at age 13 by winning a "beautiful back" contest. Working as a New York chorus girl (she briefly billed herself as "Jimmie Joy"), Iris's big break came with the 1931 edition of The Ziegfeld Follies, which led to featured nightclub and comedy revue work in the U.S. and Europe. In the Kaufman/Hart Broadway play The Fabulous Invalid, Adrian raised the temperatures of the tired businessmen in the audiences by performing a strip-tease--this at a time (the late 1930s) when the standard burlesque houses had been banned from New York by Mayor LaGuardia. Brought to films by George Raft, Adrian made her first screen appearance in Raft's 1934 vehicle Rhumba. This led to dozens of supporting roles in subsequent feature films; Iris' standard characterization at this time was the brassy, gold-digging dame who never spoke below a shout. Often appearing in one-scene bits, Adrian received more sizeable roles in Laurel and Hardy's Our Relations (1936), Bob Hope's The Paleface (1948), Milton Berle's Always Leave Them Laughing (1949) and Jerry Lewis' The Errand Boy (1961). Through the auspices of director William Wellman, who had a fondness for elevating character actors to larger roles, Adrian gave a rollicking performance as Bonnie Parker wannabe Two Gun Gertie in 1942's Roxie Hart. She launched her TV career in 1949 on Buster Keaton's LA-based weekly comedy series. Some of her most memorable work for the small screen was on the various TV programs of Jack Benny, Adrian's favorite comedian and co-worker. Throughout the 1960s and 1970s, Iris Adrian kept very active in the comedy films of the Walt Disney studio, including That Darn Cat (1965) and The Love Bug (1968); and in 1978, she was superbly cast in the regular role of the sarcastic secretary for a New York escort service on The Ted Knight Show.

Trivia: Born and educated in England (where she studied the "oratorical arts"), Lillian Bond won a beauty contest on her home turf in 1926. Shortly afterward, she came to New York, where she was hired for The Ziegfeld Follies. Brought to Hollywood as a "WAMPAS Baby Star" in 1932, Lillian was prominently cast in such films as The Old Dark House (1932) and Fireman Save My Child (1932), where her refined British accent provided a unique contrast to the gold-digging characters she was required to play. One of Lillian Bond's last sizeable roles was as Lily Langtry in the closing scenes of The Westerner (1940).