Trivia: Dubbed by one film historian as "the villain's villain," actor Noah Beery Sr. left his family's Missouri farm at age 14 to work as a newsboy in Kansas City. In rapid succession, Beery was a candy concessionaire at a circus and a lemon-drop entrepreneur, reportedly making his stage debut hawking his wares between the acts of a Kansas City theatrical production. Beery turned to performing around 1900, first as a baritone singer, then as a stock villain in touring melodramas. When his son Noah Jr. (later a popular actor in his own right) fell ill in 1916, Noah Sr. turned to films to pay the mounting medical bills. One of the busiest baddies in the movies, Noah shamelessly chewed the scenery in such films as The Mark of Zorro (1920), The Spoilers (1922), Beau Geste (1927), and Paramount's Zane Grey western series. Making the transition to sound with ease, Beery was given ample opportunity to display his splendid singing voice in several films, notably a brace of Wheeler and Woolsey comedies, Cockeyed Cavaliers (1934) and Kentucky Kernels (1934). During the talkie era, Noah's fame was eclipsed by that of his brother Wallace Beery, and by the late 1930s Noah was accepting roles in Monogram B-pictures and Republic serials. Too ill to play anything but minor roles in the 1940s, Noah was cast in peripheral parts in the MGM vehicles of his brother Wallace; the two men were not always close, but Wally saw to it that Noah was well provided for in his last years. Noah Beery died at the age of 62, a few hours before he was scheduled to co-star with Wallace in a radio production of Barnacle Bill.

Trivia: The shortest and most pugnacious of the original Dead End Kids, American actor Leo Gorcey was the son of character player Bernard Gorcey. The elder Gorcey encouraged Leo to audition as one of the tough street gang in the 1935 stage production of Sidney Kingsley's Dead End, which Leo did reluctantly; he was content with his apprentice job at his uncle's plumbing shop. When he temporarily lost that position, Leo was cast in a bit role in Dead End, eventually working his way up to the important part of Spit, the gang stool pigeon. Producer Samuel Goldwyn decided to make Dead End into a movie in 1937, further deciding to hire Leo and his fellow "kids" Billy Halop, Huntz Hall, Gabriel Dell, Bernard Punsley and Bobby Jordan for the movie version. The six streetwise hooligans scored an immediate hit with the public, paving the way for several films starring or featuring "The Dead End Kids", the best of which was Angels With Dirty Faces (1938).In 1939, the kids splintered off into subgroups, some of them heading for Universal Studios as the "Little Tough Guys". The following year, Leo Gorcey was signed by bargain-basement Monogram Pictures for a new series of "B" pictures produced by Sam Katzman--"The East Side Kids". Gorcey assumed the leading role of Muggs McGuiness, and by the time the series had run its course after 22 pictures in 1945, he'd been joined by his old Dead End buddies Huntz Hall, Bobby Jordan and Gabe Dell. Determined to get a bigger piece of the financial pie and to have more say over production, Gorcey and Hall teamed with their agent Jan Grippo to reorganize the East Side Kids as the less scruffy but no less trouble-prone "Bowery Boys". In 1946, the first Bowery Boy picture, Live Wires, was released, launching a lucrative series of low-budget features that lasted for 48 installments. Despite the furious pace of production on those two films series, Gorcey also took on outside acting jobs during the first decade or so of his career -- he turned up in supporting roles of varying sizes in a multitude of movies, including the drama Out Of the Fog, the Nancy Drew-style programmer Down in San Diego (both 1941), the musical Born To Sing (1942), the World War II action film Destroyer (1943), and the comedy So This Is New York (1948), the latter the first movie produced by Stanley Kramer (who would use Gorcey in a bit role in his gargantuan comedy It's A Mad, Mad, Mad, Mad World some 15 years later). The Bowery Boys personnel fluctuated in size and prominence over the next twelve years, but Leo Gorcey as malaprop-spouting, two-fisted Slip Mahoney and Huntz Hall as lame-brained Sach Jones were clearly the stars. Gorcey stayed with the series until the 1955 death of his father Bernard, who'd been cast in the supporting role of gullible sweet-shop proprietor Louie Dumbrowski in most of the films. Too grief stricken to continue, Leo bowed out of the series with Crashing Las Vegas (1956), leaving Huntz Hall to co-star in the remaining six "Bowery Boys" films with Stanley Clements. Working in films only fitfully over the next 14 years, Leo was content with managing his land holdings. He also missed the chance for some fresh pop-culture immortality on the original cover of the Beatles' 1967 Sergeant Pepper album -- Gorcey and Huntz Hall were originally depicted side-by-side in the cover design, but Gorcey's insistence upon being paid resulted in his image being airbrushed out. By the time of his death in 1969, Leo Gorcey was financially secure thanks to TV residual payments from his 42 "Bowery Boys" features.

Trivia: The 14th of 16 children born to a New York air-conditioner repairman and his wife, Henry Richard Hall was nicknamed "Huntz" because of his Teutonic-looking nose. At the ripe old age of one year, Huntz made his stage debut in Thunder on the Left. He went on to attend New York's Professional Children's School, perform in radio programs and at least one experimental TV broadcast, and sing with a youthful quintette; the last activity came to an end when he "ruined" his voice hawking peanuts at Madison Square Garden. In 1935, Hall was cast as slum-kid Dippy in Sidney Kingsley's Dead End, repeating the role in the 1937 screen version. Together with his fellow "Dead End Kids" Leo Gorcey, Gabriel Dell, Billy Halop, Bobby Jordan and Bernard Punsley. Hall was signed by Warner Bros in 1938. In between such Warners' assignments as Angels With Dirty Faces (1938) and They Made Me a Criminal (1939), Hall co-starred with Halop, Dell, Punsley and Leo Gorcey's brother David in Universal's Little Tough Guy, the first of many "Dead End Kid" spin-offs. During his years at Universal, Hall began developing his trademarked goofy comic style, which came to full fruition when he was reunited with Leo Gorcey in Sam Katzman's East Side Kids series at Monogram. Previously, his character name (and character) had changed from film to film: at Monogram, Hall was consistently cast as Gorcey's perennial punching bag Glimpy. Occasionally, he accepted non-"East Side Kids" assignments in the mid-1940s, earning high critical praise for his performance as Carraway in Lewis Milestone's A Walk in the Sun. In 1946, Hall, Gorcey and producer Jan Grippo created the Bowery Boys series for Monogram. Hall played the increasingly buffoonish Horace Debussy "Sach" Jones in 48 inexpensive but profitable "Bowery Boys" entries, graduating to top billing when Gorcey left the series in 1955. After the final Bowery Boys entry in 1958, he appeared in nightclubs and dinner-theater productions. Thanks to his 10% ownership of the Bowery Boys series and his investments in offshore oil, Hall was wealthy enough to retire in the early 1960s, but he was never able to completely divest himself of the urge to perform. His post-"Sach" appearances include a semi-heavy role in Ivan Tors' Gentle Giant (1977), regular stints in the weekly TV series The Chicago Teddy Bears (1971), The Ghost Busters (1975) and Uncle Croc's Block (1977), his unexpectedly effective portrayal of movie mogul Jesse Lasky in Ken Russell's Valentino (1977), and any number of supporting roles in such R-rated fare as Gas Pump Girls and Auntie Lee's Meat Pies. He also turned director for the made-for-TV feature Lost Island (1979). Hall was appointed by Princess Grace to Monaco's Council on Drug Abuse in the 1970s. Huntz Hall remained active on the nostalgia-convention circuit into the 1990s until his death in early 1999.

Trivia: Juvenile actor Bobby Jordan worked in radio, industrial films and as a child model before making his Broadway bow at age seven. He attended New York's Professional Children's School, making an excellent impression along with several of his classmates in Sidney Kingsley's 1935 play Dead End. This assignment took Jordan to Hollywood, along with fellow "Dead End Kids" Leo Gorcey, Huntz Hall, Billy Halop, Gabriel Dell and Bernard Punsley. Though he most often appeared on screen with his Dead End companions, Jordan occasionally took a meaty solo supporting role, such as "Douglas Fairbanks Rosenbloom" in the 1938 gangster farce A Slight Case of Murder. Jordan went along for the ride when the Dead End Kids became the East Side Kids at Monogram studios in the early 1940s; in these cheap but endearing films, Jordan usually played the character who got into deep trouble, obliging Gorcey, Hall and the rest of the ever-aging "Kids" to bail him out. He left the East Side aggregation for military service in 1943, returning to the fold in 1946, by which time the group had reinvented himself as the Bowery Boys. Unhappy that his career as a leading man had never truly gained any momentum, Jordan left films in the late 1940s, taking on several odd jobs, ranging from bartender to oil-field worker; he re-emerged on screen as Robert Jordan for a bit in the 1956 western This Man is Armed. The rest of Jordan's life was blighted with marital problems, drunkenness, and continual run-ins with the law. Bobby Jordan died of cirrhosis of the liver at age 42.

Trivia: Also billed as Armelita Ward and Lita Ward, this dark-eyed, dark-haired American actress began appearing in films around 1942. Ward was an RKO contractee during most of the war years, appearing in the studios' various radio series, including The Falcon and The Great Gildersleeve. On occasion, she was loaned out to smaller studios to play larger parts. Active until 1949, Amelita Ward was one of a handful of performers who appeared with Leo Gorcey, Huntz Hall, and others in both their East Side Kids and Bowery Boys incarnations, playing young heiresses in the East Side Kids entry Clancy Street Boys (1943) and the Bowery Boys opus Smuggler's Cove (1948).

Trivia: Russian-born leading man Rick Vallin inaugurated his Hollywood career in 1942. Handsome and personable enough for leading roles, Vallin was also an effectively sinister villain when the occasion arose. He spent the bulk of his career at such B-factories as Republic, Monogram, and PRC; he was a semi-regular in the East Side Kids films of the 1940s, and later showed up in a couple of 1950s Bowery Boys efforts. Additionally, Vallin was a fixture of the Columbia Pictures serial unit, essaying leads and supporting roles in such cliffhangers as Brick Bradford (1948), Batman and Robin (1949), and Blackhawk (1952, in a dual role). Rick Vallin made his final film appearance in 1958.

Trivia: Former radio actress Martha Wentworth played the Duchess, Allan Lane's robust-looking aunt, in seven of Republic Pictures' popular Red Ryder Westerns from 1946-1947. The original Duchess, Alice Fleming, had left the series along with William Elliott, who was being groomed for Grade-A Westerns. As the new Duchess, Wentworth joined Lane, Elliott's replacement, and little Bobby Blake (later Robert Blake), the former Our Gang star, who played Indian sidekick Little Beaver in all the Republic Red Ryder films. For a great majority of the series' fans, the Lane-Wentworth-Blake combination turned out the quintessential Red Ryder films, the trio becoming one of the most successful combinations in B-Western history. Republic sold the Red Ryder franchise to low-budget Eagle-Lion in 1948 and four additional films were produced, but Wentworth was replaced with former silent-action heroine Marin Sais. In her later years, Wentworth did quite a bit of voice-over work for Walt Disney.

Trivia: J. Farrell MacDonald was one of the most beloved and prolific character actors in Hollywood history. A former minstrel singer, MacDonald toured the U.S. in stage productions for nearly two decades before he ever set foot in Tinseltown. He made his earliest film appearances in 1911 with Carl Laemmle's IMP company (the forerunner of Universal); within two years he was a firmly established lead actor and director. While functioning in the latter capacity with L. Frank Baum's Oz Film Company, MacDonald gave much-needed work to up-and-coming extras Hal Roach and Harold Lloyd. When Roach set up his own production company in 1915 with Lloyd as his star, he signed MacDonald as director (both Roach and Lloyd would hire their one-time employer as character actor well into the sound era). In the 1920's, MacDonald had returned to acting full time, appearing extensively in westerns and Irish-flavored comedies. A particular favorite of director John Ford, he was prominently featured in such Ford silents as The Iron Horse (1924), The Bad Man (1926) and Riley the Cop (1927, as Riley). He also showed up as Kelly in some of Universal's culture-clash "Cohens and Kellys" comedies. With a voice that matched his personality perfectly, MacDonald was busier than ever in the early-talkie era, usually playing such workaday roles as cops and railroad engineers; in 1932 alone, he showed up in 18 films! Even when his footage was limited, he was always given a moment or two to shine, as witness his emotional curtain speech in Shirley Temple's Our Little Girl. He kept up his workload into the 1940s, often popping up in the films of John Ford and Preston Sturges. His later roles often went unbilled, but he gave his all no matter how fleeting the assignment. One of his choicest roles of the 1940s was as the Dodge City barkeep in Ford's My Darling Clementine (1946). J. Farrell MacDonald continued working right up to his death in 1952; one of his last assignments was a continuing character on the Gene Autry-produced TV series Range Rider.

Trivia: Oklahoma-born William Benedict is fondly remembered by fans for his shock of unkempt blond hair; ironically, he lost his first job at a bank because he refused to use a comb. Stagestruck at an early age, the skinny, ever-boyish Benedict took dancing lessons while in high school and appeared in amateur theatricals. After phoning a 20th Century-Fox talent scout, the 17-year-old Benedict hitchhiked to Hollywood and won a film contract (if for no other reason than nerve and persistence). He appeared in the first of his many office-boy roles in his debut film, $10 Raise (1935), and spent the next four decades popping up in bits as bellboys, caddies, hillbillies, delivery men and Western Union messengers. He portrayed so many of the latter, in fact, that Western Union paid tribute to Benedict by giving him his own official uniform -- an honor bestowed on only one other actor, Benedict's lifelong friend Frank Coghlan Jr. (the two actors costarred in the 1941 serial The Adventures of Captain Marvel). In 1939, Benedict played a bicycle messenger in the Little Tough Guys film Call a Messenger; four years later he appeared with another branch of the Little Tough Guys clan, the East Side Kids, in Ghosts on the Loose. He remained with the Kids as "Skinny," then stayed on when the East Siders transformed into the Bowery Boys in 1946. As "Whitey," Benedict was the oldest member of the team, a fact occasionally alluded to in the dialogue -- though Leo Gorcey, two months younger than Benedict, was firmly in charge of the bunch. Benedict left the Bowery Boys in 1951, gradually easing out of acting; for several years, he worked as an assistant designer of miniature sets for movie special-effects sequences. He returned to performing in the 1960s, still playing the newsboy and delivery man roles he'd done as a youth. Film and TV fans of the 1970s might recall Billy Benedict as a world-weary croupier in the early scenes of The Sting (1973), and in the regular role of Toby the Informant on the 1975 TV series The Blue Knight.

Trivia: Although not as remembered as Yakima Canutt or even Cliff Lyons, brawny George DeNormand became one of the founding fathers of modern movie stunt work. In films from the early '30s, DeNormand performed stunts and played bit roles in scores of action thrillers, B-Westerns, and serials, working mostly for that memorable factory of thrills, Republic Pictures. His career lasted well into the television era and he was especially visible on such shows as The Cisco Kid, Range Rider, and Sky King. Married to writer/director Wanda Tuchock (1898-1985), DeNormand spent his last years at the Motion Picture Country House and Hospital in Woodland Hills, CA.

Trivia: Of Jewish-Swiss descent, actor Bernard Gorcey was in his early 20s when he emigrated to the U.S. At 4' 10", Gorcey ruled out the possibility of becoming a leading man on stage; instead, he concentrated on comedy roles, and in so doing assured himself nearly five decades of steady work. On Broadway and in stock, he provided comedy relief to such operettas as Rose Marie, Wildflower, and Song of the Flame. In 1922, he was cast as Isaac Cohen in the phenomenally popular Broadway play Abie's Irish Rose; six year later, he repeated his role in the film version. Then it was back to Broadway and radio work until 1939, when Charlie Chaplin hired Gorcey to play philosophical ghetto dweller Mr. Mann in The Great Dictator. Gorcey went on to play minor roles at Warner Bros. and Monogram, where his son, actor Leo Gorcey was firmly established as a member of the "Dead End Kids" and "East Side Kids" aggregations. After another sojourn to Broadway, the elder Gorcey returned to Monogram, this time to stay. In 1946, the "East Side Kids" matriculated into "The Bowery Boys," a series that lasted until 1958. In the first Bowery Boys entry Live Wires, Gorcey played a featured role as a nervous bookie. From Bowery Bombshell (1946) onward, he was ensconced in the role of Louie Dumbrowski, the eternally flustered, supremely gullible owner of the sweet shop where the Bowery Boys whiled away their time hatching schemes and mooching sodas. Occasionally, Gorcey would accept an "outside" role in films like No Minor Vices, but his principal source of income remained Louie Dumbrowski (and the Los Angeles print shop that he ran in his off-hours). Not long after appearing in the 1955 Bowery Boys opus Dig That Uranium, Bernard Gorcey died of injuries sustained in a traffic accident.

Trivia: Enjoying one of the longer careers in Hollywood history, Gino Corrado is today best remembered as a stocky bit-part player whose pencil-thin mustache made him the perfect screen barber, maître d', or hotel clerk, roles he would play in both major and Poverty Row films that ranged from Citizen Kane (1941) and Casablanca (1942) to serials such as The Lost City (1935) and, perhaps his best-remembered performance, the Three Stooges short Micro Phonies (1945; he was the bombastic Signor Spumoni).A graduate of his native College of Strada, Corrado finished his education at St. Bede College in Peru, IL, and entered films with D.W. Griffith in the early 1910s, later claiming to have played bit parts in both Birth of a Nation (1915) and Intolerance (1916). By the mid-1910s, he was essaying the "other man" in scores of melodramas, now billed under the less ethnic-sounding name of Eugene Corey. He became Geno Corrado in the 1920s but would work under his real name in literally hundreds of sound films, a career that lasted well into the 1950s and also included live television appearances. In a case of life imitating art, Corrado reportedly supplemented his income by working as a waiter in between acting assignments.

Trivia: Born in New York City while his father Noah Beery Sr. was appearing on-stage, Noah Beery Jr. was given his lifelong nickname, "Pidge," by Josie Cohan, sister of George M. Cohan "I was born in the business," Pidge Beery observed some 63 years later. "I couldn't have gotten out of it if I wanted to." In 1920, the younger Beery made his first screen appearance in Douglas Fairbanks' The Mark of Zorro (1920), which co-starred dad Noah as Sergeant Garcia. Thanks to a zoning mistake, Pidge attended the Hollywood School for Girls (his fellow "girls" included Doug Fairbanks Jr. and Jesse Lasky Jr.), then relocated with his family to a ranch in the San Fernando Valley, miles from Tinseltown. While some kids might have chafed at such isolation, Pidge loved the wide open spaces, and upon attaining manhood emulated his father by living as far away from Hollywood as possible. After attending military school, Pidge pursued film acting in earnest, appearing mostly in serials and Westerns, sometimes as the hero, but usually as the hero's bucolic sidekick. His more notable screen credits of the 1930s and '40s include Of Mice and Men (1939), Only Angels Have Wings (again 1939, this time as the obligatory doomed-from-the-start airplane pilot), Sergeant York (1941), We've Never Been Licked (1943), and Red River (1948). He also starred in a group of rustic 45-minute comedies produced by Hal Roach in the early '40s, and was featured in several popular B-Western series; one of these starred Buck Jones, whose daughter Maxine became Pidge's first wife. Perhaps out of a sense of self-preservation, Beery appeared with his camera-hogging uncle Wallace Beery only once, in 1940's 20 Mule Team. Children of the 1950s will remember Pidge as Joey the Clown on the weekly TV series Circus Boy (1956), while the more TV-addicted may recall Beery's obscure syndicated travelogue series, co-starring himself and his sons. The 1960s found Pidge featured in such A-list films as Inherit the Wind (1960) and as a regular on the series Riverboat and Hondo. He kicked off the 1970s in the role of Michael J. Pollard's dad (there was a resemblance) in Little Fauss and Big Halsey. Though Beery was first choice for the part of James Garner's father on the TV detective series The Rockford Files, Pidge was committed to the 1973 James Franciscus starrer Doc Elliot, so the Rockford producers went with actor Robert Donley in the pilot episode. By the time The Rockford Files was picked up on a weekly basis, Doc Elliot had tanked, thus Donley was dropped in favor of Beery, who stayed with the role until the series' cancellation in 1978. Pidge's weekly-TV manifest in the 1980s included Quest (1981) and The Yellow Rose (1983). After a brief illness, Noah Beery Jr. died at his Tehachapi, CA, ranch at the age of 81.