Trivia: One of the finest American actors of his generation, George C. Scott was born in Virginia and raised in Detroit. After serving in the Marines from 1945 to 1949, Scott enrolled at the University of Missouri, determined to become an actor. Though his truculent demeanor and raspy voice would seem to typecast him in unpleasant roles, Scott exhibited an astonishing range of characterizations during his seven years in regional repertory theater. He also found time to teach a drama course at Stephens College. By the time Scott moved to New York in 1957, he was in full command of his craft; yet, because he was largely unknown outside of the repertory circuit, he considered himself a failure. While supporting himself as an IBM machine operator, Scott auditioned for producer Joseph Papp. Cast as the title character in Papp's production of Richard III, Scott finally achieved the stardom and critical adulation that had so long eluded him. Amidst dozens of choice television guest-starring performances, Scott made his movie debut in 1959's The Hanging Tree. That same year, he earned the first of four Oscar nominations for his incisive portrayal of big-city attorney Claude Dancer in Anatomy of a Murder. Over the next few years, Scott appeared in a dizzying variety of roles, ranging from Paul Newman's mercenary manager Bert Gordon in The Hustler (1961) to erudite British detective Anthony Gethryn in The List of Adrian Messenger (1962) to ape-like General "Buck" Turgidson in Dr. Strangelove (1963). After turning down several TV series offers, Scott accepted the role of social director Neil Brock on the David Susskind-produced "relevance" weekly East Side/West Side (1963-1964). He left the series in a huff in early 1964, citing the censorial idiocies of the program's network and sponsors; he also vowed to never again appear in a TV series -- at least until 1987, when the Fox network offered him 100,000 dollars per episode to star in the nonsensical sitcom Mr. President. In 1971, Scott made international headlines by refusing to accept his Best Actor Oscar for his performance in the title role of Patton, deriding the awards ceremony as a "meat parade." Two years later, he turned down an Emmy for his work in the TV adaptation of Arthur Miller's The Price. Curiously, he had no qualms about accepting such honors as the Golden Globe or Canada's Genie Award for the 1980 film The Changeling. Gravitating toward directing, Scott staged both the Broadway and TV productions of The Andersonville Trial, and he also directed two of his films: Rage (1973) and The Savage Is Loose (1974). In 1976, he added singing and dancing to his accomplishments when he starred on Broadway in Sly Fox, a musicalization of Ben Jonson's Volpone. In the '80s, Scott played Fagin in Oliver Twist (1982), Scrooge in A Christmas Carol (1984), and Dupin in The Murders in the Rue Morgue (1987); he also starred in a 1987 TV biopic of Mussolini, and enacted one of the most excruciatingly drawn-out death scenes in television history in The Last Days of Patton (1986). Making his cartoon voice-over debut in the anti-drug TV special Cartoon All-Stars to the Rescue (1988), Scott served up more vocal villainy in the Disney-animated feature The Rescuers Down Under (1990). Not until his later years did he show signs of slowing down; in 1996, while appearing as Henry Drummond in the National Actors Theater production of Inherit the Wind, he suddenly took ill in mid-performance, excused himself, and left the stage, obliging director Tony Randall to take over the part for the balance of the show. He made one of his final appearances in an Emmy-winning performance in the all-star TV remake of 12 Angry Men with Jack Lemmon. Scott was married five times; his third and fourth wife was the distinguished actress Colleen Dewhurst, while wife number five was another stage and film actress, Trish Van Devere. Two of his children, Devon and Campbell, have also pursued acting careers. Scott died on September 22, 1999.

Trivia: Trained for a theatrical career at Ohio Wesleyan University, actress Trish Van Devere made her off-Broadway bow in 1967. She polished her craft on such TV daytime dramas as Search for Tomorrow (as Patty Barron) and One Life to Live (as Meredith Lord), then made her movie debut in The Landlord (1970). Critics predicted a rosy professional future for Van Devere after her impressive starring appearance in the 1972 film One is a Lonely Number. That same year, she became the fifth wife of actor George C. Scott, whom she met on the set of The Last Run (1971). Thereafter, with rare exceptions, she was nearly always paired with Scott on screen (Day of the Dolphin, The Savage is Loose, Movie Movie, The Changeling), on television (1976's Beauty and the Beast) and on stage (Sly Fox, also 1976). As Scott cut down his movie workload, she began accepting assignments in such turkeys as Hollywood Vice Squad (1986) and Messenger of Death (1988). While her film career hasn't lived up to its potential, Trish Van Devere has continued appearing with honor and distinction on stage.

Trivia: Long before earning his B.A. from the University of Texas and his M.A. in Education from C.C.N.Y., Eli Wallach made his first on-stage appearance in a 1930 amateur production. After World War II service and intensive training at New York's Neighborhood Playhouse, the bumpy-nosed, gravel-voiced Wallach debuted on Broadway in Skydrift (1945). In 1951, he won a Tony award for his portrayal of Alvaro Mangiaco in Tennessee Williams' The Rose Tattoo. Though a staunch advocate of "The Method," Wallach could never be accused of being too introspective on-stage; in fact, his acting at times was downright ripe -- but deliciously so. He made his screen debut in Baby Doll (1956) playing another of Tennessee Williams' abrasive Latins, in this instance the duplicitous Silva Vaccaro; this performance earned Wallach the British equivalent of the Oscar. He spent the bulk of his screen time indulging in various brands of villainy, usually sporting an exotic accent (e.g., bandit leader Calvera in The Magnificent Seven [1960]). Perhaps his most antisocial onscreen act was the kidnapping of Hayley Mills in The Moon-Spinners (1965). Even when playing someone on "our" side, Wallach usually managed to make his character as prickly as possible: a prime example is Sgt. Craig in The Victors (1963), who manages to be vituperative and insulting even after his face is blown away. Busy on stage, screen, and TV into the 1990s, Wallach has played such unsavory types as a senile, half-blind hitman in Tough Guys (1986) and candy-munching Mafioso Don Altobello in The Godfather III (1990). He continued to work steadily into the 1990s with parts in the Chinatown sequel The Two Jakes, the remake of Night and the City, Article 99, and narrating a number of documentaries. He didn't slow down much at all during the 21st century, appearing in the comedy Keepin the Faith, Clint Eastwood's Oscar Winning Mystic River, and The Hoax. In 2010 he acted for Roman Polanski in his thriller The Ghost Writer, and for Oliver Stone in Wall Street: Money Never Sleeps, which was to be his last film role; Wallach died in 2014 at age 98.His television work has included an Emmy-winning performance in the 1967 all-star TV movie The Poppy Is Also a Flower and the continuing role of mob patriarch Vincent Danzig in Our Family Honor. Married since 1948 to actress Anne Jackson, Wallach has appeared on-stage with his wife in such plays as The Typists and the Tiger, Luv, and Next, and co-starred with her in the 1967 comedy film The Tiger Makes Out. Eli Wallach and Anne Jackson are the parents of special effects director Peter Wallach.

Trivia: Though Art Carney would grow up to become a shy, retiring, self-effacing man, he was quite the class clown in school. HIs grades never rising above mediocre, Carney excelled in mimicry, performing astonishingly accurate imitations of Franklin D. Roosevelt, Fred Allen, Ned Sparks, and other 1930s luminaries. This skill enabled him to win a number of New York-based amateur contests, and in 1938 landed him a spot as musician/comedian with the Horace Heidt orchestra. Extensive radio work followed, notably Heidt's weekly quiz show Pot of Gold, which when made into a film in 1941 featured Carney in an uncredited role. While serving in WWII, Carney endured a serious leg wound which left him with a permanent limp. Fortunately this infliction did not impede his postwar radio work; he acted on such dramatic programs as Gangbusters and Dimension X, and appeared as a comedy foil for such major stars as Bert Lahr and Henry Morgan. He moved into television in 1948, playing a comic waiter on The Morey Amsterdam Show. Full-fledged stardom came his way in 1951 when he was hired as supporting player for a roly-poly comedian named Jackie Gleason on the Dumont TV Network's Cavalcade of Stars. Though they were never any more than fast friends off-stage, Gleason and Carney immediately developed a warm on-camera rapport that was to remain intact until Gleason's death in 1987. When Gleason moved from Dumont to CBS in 1952, Carney joined him, playing a remarkable array of sharply defined characters on The Jackie Gleason Show, the most famous of which was goofy, gesticulating sewer worker Ed Norton in the series' classic Honeymooners sketches. Ultimately, Carney was to win six Emmy awards, not only for his work on the Gleason show but also for his dramatic performances in such projects as the 1984 TV movie Terrible Joe Moran. He made a successful transition to the Broadway stage in 1959's The Rope Dancers, subsequently appearing in such stage hits as Take Her She's Mine, The Odd Couple (originating the role of Felix Unger), and Lovers. He returned to films in 1965, and nine years later won an Academy Award for his portrayal of an irascible senior citizen in Harry and Tonto. Even at the height of his popularity and activity, Carney suffered from profound emotional problems; a quiet, introspective sort not given to venting anger or displeasure, he assuaged his rage and insecurities with liquor. His alcoholic intake eventually impaired his ability to perform, forcing him to periodically dry out and take stock in himself in various sanitariums and clinics. Though Art Carney was eventually able to overcome his difficulties, he became more reclusive and less active as the years rolled on. The 1980s proved Carney's final active decade in front of the camera, and following roles in St. Helens, The Muppets Take Manhattan, and Firestarted (not to mention numerous small-screen appearances) Carney called it quits following an appearance in the 1993 action flop The Last Action Hero. His subsequent retirement proving a restful departure from the high energy entertainment industry, the beloved Honeymooners star died of natural causes in November of 2003.

Trivia: American actor Red Buttons, born Aaron Schwatt and raised on New York's Lower East Side, won an amateur night contest at age 12. By age 16 he was working in a Bronx tavern as a bellboy-singer; here he took the name "Red Buttons", in reference to his uniform. He went on to work the Catskills Mountains "Borscht Belt" and to perform as a burlesque comedian. He debuted on Broadway as a supporting player in Vickie in 1942. He served in the Army during World War II, appearing in the play Winged Victory; he played the same role in the film version (1944), marking his big-screen debut. After briefly starring in his own TV show in 1953 he had a weak career until he landed the role of Sargeant Joe Kelly in the film Sayonara (1957), his second movie role; for his work in that film he won a Best Supporting Actor Oscar, going on from there to appear frequently in films, usually as a comedy actor.

Trivia: The older sister of actor Marlon Brando, Jocelyn Brando first set foot on stage under the direction of her mother, the leading light of an Omaha community theatre group. Jocelyn's career has been mostly confined to stage work ever since, though she has occasionally surfaced on film. Her best-known movie role (if not her largest) was detective Glenn Ford's murdered wife in the 1953 gangster melodrama The Big Heat. Jocelyn has also appeared in two of brother Marlon's films, The Ugly American (1962) and The Chase (1966). In the early 1970s, Jocelyn Brando succeeded Frances Sternhagen in the role of Mrs. Krakauer on the long-running daytime drama Love of Life.

Trivia: Tall leading man Barry Bostwick began his professional acting career while still a sophomore at the United States International University School of Performing Arts in San Diego; his first stage gig was opposite Walter Pidgeon in Take Her, She's Mine. Completing his training at the New York University Graduate School of the Arts, Bostwick made his Broadway bow in Cock-a-Doodle Dandy. He went on to play Danny Zuko in the smash-hit musical Grease, and in 1978 won a Tony Award for his work in The Robber Bridegroom. In films from 1971, Bostwick is best known for his calculatedly cloddish portrayal of Brad Majors in the midnight-movie perennial The Rocky Horror Picture Show. Equally enjoyable was his characterization of the aspiring songwriter ("It Just Shows to Go Ya") who agrees to write an entire Broadway musical in 24 hours in the 1979 spoof Movie, Movie. Barry Bostwick has also excelled on television, playing movie idol John Gilbert in Garson Kanin's The Silent Lovers (1980) and George Washington in two mid-'80s miniseries based on the life of the first U.S. president. He continued to work steadily on the big and small screen in projects such as the miniseries War & Remembrance and its sequel, Challenger, Praying Mantis, and Weekend at Bernie's II. At the beginning of the 21st century he appeared in The Skulls 3 as well as other productions including Hannah Montana: The Movie. In 2012 he appeared in the action comedy FDR: American Badass!

Trivia: Handsome American actor Harry Hamlin studied his craft at San Francisco's American Conservatory Theatre. Hamlin made his film debut as a John Garfieldesque prizefighter in the 1930s spoof Movie, Movie (1978). Three years later, he played Perseus in the Ray Harryhausen co-produced Clash of the Titans (1981). Also appearing in this film was international sex symbol Ursula Andress, who became Hamlin's "constant companion" over the next few years, a liaison that resulted in a son. Even as his film career dwindled down to such forgettable fare as Blue Skies Again (1983), in which he played an immature Ted Turner type, Hamlin's career flourished on television. He starred in a 1979 TV miniseries adaptation of James T. Farrell's Studs Lonigan, played a courageous astronaut on the 1985 multi-episode production Space, and essayed the role of a straying politician in the 1988 two-parter Favorite Son. Hamlin's best-known TV assignment, which he launched in 1986, was the role of amorous litigation attorney Michael Kuzak on the popular NBC series L.A. Law. He is divorced from actress Nicollette Sheridan. Hamlin continued to find steady work throughout the 90s, appearing on numerous TV shows such as The Outer Limits, Remember WENN, and The Nanny, and even providing voice work for Batman: The Animated Series. The actor also took roles in various films and TV movies like Allie & Me and Badge of Betrayal. After marrying soap actress Lisa Rinna in 1997, he entered the new millennium with no plans to slow down, reuniting with the L.A. Law cast in 2002 for L.A. Law: The Movie, and taking a recurring role on the TV show Veronica Mars as the movie star father of the character Logan. Interestingly enough, in an episode of the show Hamlin's character swears under oath that in 1987 he was People Magazine's Sexiest Man of the Year, and Hamlin was in fact given that very title that same year.He returned to the small-screen to compete in the third season of the reality show Dancing With the Stars, and tried his hand at scripted series television yet again in 2009 with Harper's Island.

Trivia: Dance star, lead actress, onscreen from the late '70s.

Trivia: American director/choreographer Michael Kidd was deflected from an engineering career when he developed an interest in dance. After a few years of gypsying as a chorus hoofer, Kidd worked his way up to choreographer and presented his first ballet when he was 26. His Broadway work accrued him five Tony Awards, but Kidd's lasting fame is manifested in his film work. Among many other movies, he choreographed Where's Charley? (1952), Seven Brides for Seven Brothers (1954), Guys and Dolls (1955), Star (1968) and Hello Dolly (1969). In addition to his dance-direction chores, he acted in It's Always Fair Weather (1955), as Gene Kelly's and Dan Dailey's army buddy who becomes a blue-collar husband in civilian life - but not before joining his costars in the fabled "trash can dance." Kidd was grayed up for his role as Pop Popchick in the spoofish Movie, Movie (1978), doubling as choreographer for the climactic "Blansky's Beauties of 1933" sequence. He also was given solo director credit for Merry Andrew (1958), which starred his frequent collaborator Danny Kaye. Michael Kidd's best film role was in Smile (1975) in which he essentially played himself - an outspoken, quick-tempered dance director who was willing to take money out of his own pocket to repair a faulty stage and thus ensure the safety of his dancers. Kidd died at age 92 in late 2007.

Trivia: Petite, brunette actress Kathleen Beller was working in daytime TV soaps when she made her film debut at 19, playing the tiny role of "The Girl in 'Senza Mamma'" in The Godfather Part II (1974). Subsequent movie assignments ranged from a thankless heroine in The Sword and the Sorceror (1982) to a hilarious turn as Harry Hamlin's very nearsighted sister in Movie Movie (1979). Ardent video viewers will immediately recognize Kathleen from her many TV-movie appearances, notably the title role in the 1977 biopic Mary White. For three seasons in the early 1980s, Kathleen Beller portrayed butler's daughter Kirby Anders on the prime time serial Dynasty.

Trivia: At the risk of incurring groans for a clumsy pun, we must note that African-American actress Maidie Norman has been consigned to numerous "maid-y" parts in her long screen career. Most of Maidie's film assignments have been as domestics of some sort or other, which was unfortunately to be expected in the white-bread '50s; a handful of the actress' role were, however, wholly worthy of her talents. Her first film was The Burning Cross (1948), a sincere if low-budget attack on the KKK in which she played the wife of that ubiquitous black character actor Joel Fluellen. Maidie followed this with The Well (1951), another of a brief cycle of '50s films to explore black-white relationships. But once such films were labelled as "leftist" by the Communist hunters of the era, Maidie found herself accepting more and more roles where she played subserviently to white stars. Busy in both films and TV into the '70s, Maidie surprisingly continued to play maids even as Hollywood became more sensitive towards stereotyping; as Olivia De Havilland's faithful servant in Airport '77, she endured a Hattie McDaniel-like scene in which she died in her employer's arms. Maidie's best screen appearance, Whatever Happened to Baby Jane (1962), was as yet another domestic. Playing the no-nonsense housekeeper of Bette Davis and Joan Crawford, Maidie discovers Davis' potentially homicidal intentions for Joan, whereupon she defiantly announces her plans to go to the police. Since this happens at the film's halfway point, just guess how the homicidal Davis "serves notice" to the hapless Maidie Norman.

Trivia: Hatchet-faced character actor Charles Lane has been one of the most instantly recognizable non-stars in Hollywood for more than half a century. Lane has been a familiar figure in movies (and, subsequently, on television) for 60 years, portraying crotchety, usually miserly, bad-tempered bankers and bureaucrats. Lane was born Charles Levison in San Francisco in 1899 (some sources give his year of birth as 1905). He learned the ropes of acting at the Pasadena Playhouse during the middle/late '20s, appearing in the works of Shakespeare, Chekhov, and Noel Coward before going to Hollywood in 1930, just as sound was fully taking hold. He was a good choice for character roles, usually playing annoying types with his high-pitched voice and fidgety persona, encompassing everything from skinflint accountants to sly, fast-talking confidence men -- think of an abrasive version of Bud Abbott. His major early roles included the stage manager Max Jacobs in Twentieth Century and the tax assessor in You Can't Take It With You. One of the busier character men in Hollywood, Lane was a particular favorite of Frank Capra's, and he appeared in Mr. Deeds Goes to Town, Mr. Smith Goes to Washington, Arsenic and Old Lace, It's a Wonderful Life -- with a particularly important supporting part in the latter -- and State of the Union. He played in every kind of movie from screwball comedy like Ball of Fire to primordial film noir, such as I Wake Up Screaming. As Lane grew older, he tended toward more outrageously miserly parts, in movies and then on television, where he turned up Burns & Allen, I Love Lucy, and Dear Phoebe, among other series. Having successfully played a tight-fisted business manager hired by Ricky Ricardo to keep Lucy's spending in line in one episode of I Love Lucy (and, later, the U.S. border guard who nearly arrests the whole Ricardo clan and actor Charles Boyer at the Mexican border in an episode of The Lucy-Desi Comedy Hour), Lane was a natural choice to play Lucille Ball's nemesis on The Lucy Show. Her first choice for the money-grubbing banker would have been Gale Gordon, but as he was already contractually committed to the series Dennis the Menace, she hired Lane to play Mr. Barnsdahl, the tight-fisted administrator of her late-husband's estate during the first season of the show. Lane left the series after Gordon became available to play the part of Mr. Mooney, but in short order he moved right into the part that came very close to making him a star. The CBS country comedy series Petticoat Junction needed a semi-regular villain and Lane just fit the bill as Homer Bedloe, the greedy, bad-tempered railroad executive whose career goal was to shut down the Cannonball railroad that served the town of Hooterville. He became so well-known in the role, which he only played once or twice a season, that at one point Lane found himself in demand for personal appearance tours. In later years, he also turned up in roles on The Beverly Hillbillies, playing Jane Hathaway's unscrupulous landlord, and did an excruciatingly funny appearance on The Odd Couple in the mid-'70s, playing a manic, greedy patron at the apartment sale being run by Felix and Oscar. Lane also did his share of straight dramatic roles, portraying such parts as Tony Randall's nastily officious IRS boss in the comedy The Mating Game (1959), the crusty River City town constable in The Music Man (1962) (which put Lane into the middle of a huge musical production number), the wryly cynical, impatient judge in the James Garner comedy film The Wheeler-Dealers (1963), and portraying Admiral William Standley in The Winds of War (1983), based on Herman Wouk's novel. He was still working right up until the late '80s, and David Letterman booked the actor to appear on his NBC late-night show during the middle of that decade, though his appearance on the program was somewhat disappointing and sad; the actor, who was instantly recognized by the studio audience, was then in his early nineties and had apparently not done live television in many years (if ever), and apparently hadn't been adequately prepped. He seemed confused and unable to say much about his work, which was understandable -- the nature of his character parts involved hundreds of roles that were usually each completed in a matter or two or three days shooting, across almost 60 years. Lane died at 102, in July 2007 - about 20 years after his last major film appearance.

Trivia: It took the television series Seinfeld and his portrayal of Morty Seinfeld to turn Barney Martin into a pop-culture star, complete with talk-show engagements and personal appearances -- but Martin was a working actor for 40 years before that, in films and television, on Broadway, and in regional theater. Born in New York City in the early '20s, he was the son of the police official in charge of the jail facility known as the Tombs. He served in the U.S. Army Air Force during World War II, with 42 missions to his credit as a navigator; he joined the police force after the war and won commendations for bravery. Martin had always shown a flair for comedy, and while a member of the police force, he was often asked to add jokes to the speeches of various deputy commissioners. In the early '50s, he began moving into professional entertainment circles, selling his jokes and also writing for Name That Tune, and then was hired as a writer on The Steve Allen Show -- it was while working on that end of the business, and with some encouragement from a new friend, Mel Brooks, that Martin became convinced that he could be as funny as most of the professional comics he was seeing in front of the cameras and on-stage. By the end of the 1950s, he was working as a stand-in for Jackie Gleason. With his hefty frame tipping the scales at well over 200 pounds even in those days, and his slightly befuddled look, he was nearly a dead-ringer for Gleason in one profile, and he ended up working on camera in various sketches. Martin's other early television performances included regular work as a "ringer" on Candid Camera, and work on The Ed Sullivan Show and The Perry Como Show, as well as straight acting performances on such dramatic shows as The Naked City, where his New York accent and mannerisms made Martin a natural. He also turned in an excruciatingly funny performance as Fats Borderman, a hapless professional hood, in the Car 54, Where Are You? episode "Toody Undercover." Martin made his first big-screen appearance in the 1956 Alfred Hitchcock thriller The Wrong Man, as a member of the jury -- he also showed up in uncredited appearances in such movies as Butterfield 8, Requiem for a Heavyweight, and Love With the Proper Stranger. In 1968, he got his first two credited screen appearances, in Mel Brooks' The Producers, portraying Goring in "Springtime for Hitler," and playing Hank in Ralph Nelson's Charly. Most of Martin's acting, however, was on-stage, including Broadway productions of South Pacific, All American, Street Scene, How Now, Dow Jones, and Chicago; in the latter's '70s production, he originated the role of Amos Hart. He also appeared in regional theater productions of Last of the Red Hot Lovers and The Fantasticks. Martin also made occasional appearances on television, most notably on The Odd Couple, starring Tony Randall and Jack Klugman, in such episodes as "The Jury Story" and "The Subway Story." His friendship with Randall also carried over to his being cast as a regular when the latter got his own series, The Tony Randall Show, in 1976. Martin might have gone on for the rest of his career as a character actor well known to those in his profession, doing occasional big-screen performances in features such as Stanley Donen's Movie, Movie and Steve Gordon's Arthur, but for the Seinfeld television series. After inheriting the role of Morty Seinfeld from another actor, Martin became a regular on the series, usually working in tandem with Liz Sheridan playing Morty's wife, also playing opposite Jerry Seinfeld, Jason Alexander, Julia Louis-Dreyfuss, Michael Richards, and Jerry Stiller, and always holding his own in eliciting laughs. Perhaps Martin's best single episode was the one in which his character is defeated in the election as chairman of the condominium board -- the script was filled with little digs aimed at Oliver Stone's movie Nixon, and Martin was able to bring just enough Nixon-like gravitas to his portrayal to make the whole show work.

Trivia: A Hollywood child actor from 1927, Dick Winslow showed up in dozen of early talkies as page boys, messenger boys, and office boys. One of Winslow's few "named" roles was Joe Harper in the 1930 version of Tom Sawyer. Adept at several musical instruments, Winslow graced many a film of the 1940s and 1950s, playing everything from picnic accordion players to cocktail pianists. The apotheosis of this stage of Winslow's career was his one-man band in 1965's Do Not Disturb. A veteran of 60 years in the business, Dick Winslow made his last screen appearance as "the Old Man" in 1988's Fatal Judgment.

Trivia: Goodman graduate Barbara Harris was among the earliest members of Chicago's Second City improvisational troupe. Harris' "everybody's best friend" demeanor, her good looks and offbeat sense of humor assured her steady work both off and on Broadway. In 1967 she won a Tony Award for her work in the whimsical Broadway musical The Apple Tree. Harris made her film debut as the heart-on-sleeve social worker Sandra (which happened to be her real first name) in 1965's A Thousand Clowns. She then re-created her Broadway role in the hot-and-cold movie version of Arthur Kopit's Oh Dad, Poor Dad, Mama's Hung You in the Closet and I'm Feeling So Sad. In 1971, Harris was nominated for an Oscar for her performance in Who is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? (did she enjoy selecting films with long-winded titles?) Her subsequent film appearances were as infrequent as they were unpredictable. Only director Robert Altman would have had the inspired notion of casting the very urban Barbara as a country-western wannabe in Nashville (1975); and only Alfred Hitchcock would have come up with the brilliant idea of casting Barbara as a lovably crooked psychic in Family Plot (1976). Both were out-of-left-field casting choices, and both worked superbly -- a tribute not only to the directors' intuition but also to Barbara Harris' boundless versatility.

Trivia: American comedian George Burns had a taste for show business from his youth on New York's Lower East Side, and by the time he was seven he and his buddies had formed a singing group called the Pee Wee Quartet. Amateur shows led to small-time vaudeville, where Burns faced rejection time and again, often gaining jobs from people who had fired him earlier through the simple expedient of constantly changing his professional name. Usually working as part of a song-and-snappy-patter team, he was in the process of breaking up with his latest partner Billy Lorraine in 1922 when he met a pretty young singer/dancer named Gracie Allen. The game plan for this new team was to have Gracie play the "straight man" and George the comic, but so ingenuous and lightheaded was Gracie's delivery that the audience laughed at her questions and not at George's answers. Burns realized he'd have to reverse the roles and become the straight man for the act to succeed, and within a few years Burns and Allen was one of the hottest acts in vaudeville, with George writing the material and Gracie garnering the laughs. George and Gracie married in 1926; thereafter the team worked on stage, in radio, in movies (first in a series of one-reel comedies, then making their feature debut in 1932's The Big Broadcast) and ultimately in television, seldom failing to bring down the house with their basic "dizzy lady, long-suffering man" routine. Though the public at large believed that Gracie had all the talent, show business insiders knew that the act would have been nothing without George's brilliant comic input; indeed, George was often referred to by his peers as "The Comedian's Comedian". Gracie decided to retire in 1958, after which George went out on his own in television and in nightclubs, to less than spectacular success. After Gracie's death in 1964, George concentrated on television production (he had vested interests in several series, among them Mr. Ed) and for a nervous few years tried using other comic actresses in the "Gracie" role for his club appearances. But it wasn't the same; George Burns would be first to admit there was only one Gracie Allen. Though he never retired, Burns was more or less out of the consciousness of moviegoers until he was hired at the last minute to replace his late friend Jack Benny in the film version of Neil Simon's The Sunshine Boys (1975). His performance as a cantankerous old vaudeville comic won him an Oscar, and launched a whole new career for the octogenarian entertainer as a solo movie star. Perhaps his most conspicuous achievement in the late 1970s was his portrayal of the Almighty Spirit - with distinct Palace Theatre undertones - in Oh, God! (1977). Even after reaching his centennial year, Burns remained as sharp-witted as ever. Less than three months after his 100th birthday Burns passed away. But fans can take comfort because Burns has gone beyond the realm of Show Business Legend; he is practically an immortal.

Trivia: After starting out as a Broadway hoofer in the 1940s, director/choreographer Stanley Donen decided to try movies and went on to work with the greatest dancers and helm several of the most highly regarded musicals to emerge from classical Hollywood. Even after he left the musical genre, Donen's smooth touch earned him several 1960s hits, but his career slowed down in the 1970s and 1980s after several decades in the business.Born in South Carolina, Donen an dancing as a child. Making his Broadway debut at 16 in the chorus of Pal Joey, Donen soon began a fruitful collaboration with the show's star, Gene Kelly, assisting with the choreography for the show Best Foot Forward in 1941. Following Kelly's lead, Donen then headed to Hollywood, repeating his jobs as assistant choreographer and chorus dancer in the film version of Best Foot Forward (1943). Donen worked steadily as a choreographer for the rest of the decade, including on Kelly's Cover Girl (1944) for Columbia.After moving to MGM in 1945, Donen continued to collaborate with Kelly, choreographing such films as Anchorbegs Aweigh (1945) (featuring Kelly's dance with cartoon mouse Jerry) and Living in a Big Way (1947). Donen's career kicked into high gear when he began working with storied MGM producer Arthur Freed, co-choreographing and co-writing Busby Berkeley's Kelly and Frank Sinatra musical Take Me Out to the Ballgame (1949). His subsequent trio of Freed-unit musicals became landmarks of the genre. Sharing duties with Kelly, Donen's first film as director, On the Town (1949), reprised the Donen/Kelly/Sinatra magic and opened up the sparkling Broadway hit with dance numbers shot on location in New York, breathing exuberant life into the often studio-bound genre. Serving as sole director on his next film, Royal Wedding (1951), Donen worked with Fred Astaire, producing two of the star's most famous moments as he defies gravity to dance on the ceiling and creates a pas de deux with a hat rack. Returning to the shared director's chair with Kelly, Donen and Kelly made their most renowned film, the classic Singin' in the Rain (1952). Filled with memorable musical and comic moments, including Jean Hagen's inability to act into the mike, Donald O'Connor's slapstick dance "Make 'Em Laugh," Cyd Charisse's sultry Broadway Ballet cameo and (of course) Kelly's solo precipitation revel, Singin' in the Rain's humorous ode to Hollywood's Golden Age showcased Donen and Kelly's visual inventiveness and buoyant touch, becoming the rare reflexive film that worked. Suffering a creative lag with a cluster of non-Freed musicals in 1952 and 1953, Donen's films nonetheless featured such notable dance moments as the onscreen pairing of top choreographer/dancers Gower Champion and Bob Fosse in Give a Girl a Break (1953). Back on track by 1954, Donen scored another success with the rousing Seven Brides for Seven Brothers (1954), showcasing Michael Kidd's choreography in CinemaScope. Joining forces with Kelly and the Freed unit one last time, Donen and company crafted the sardonic It's Always Fair Weather (1955). A sequel of sorts to On the Town, It's Always Fair Weather cast a critical eye on the musical's optimism and the encroaching phenomenon of television, and underlined Donen's talent for handling CinemaScope in Kelly, Kidd and Dan Dailey's energetic trash can dance. A flop, It's Always Fair Weather marked the end of Donen's tenure at MGM.A free agent, Donen confirmed that he was still one of the top directors of the musical with The Pajama Game and Funny Face in 1957. A collaboration with co-director George Abbott and choreographer Fosse, The Pajama Game successfully transferred the show's Broadway luster to the screen, with the location-shot "Once a Year Day" taking full advantage of the medium's capability for staging expansive dance spectacles. Working again with Astaire, Donen made Funny Face a gloriously colorful, chic vehicle for the debonair dancer and his co-star Audrey Hepburn; Kay Thompson's "Think Pink" number threatens to steal the movie. Donen then re-teamed with Abbott and Fosse on another bright Broadway transplant, Damn Yankees (1958), featuring a rare screen turn by Gwen Verdon as the diabolically seductive Lola.Before the musical swooned in the 1960s, Donen shifted his attention to light comedy in the late '50s, including the smooth Cary Grant vehicles Indiscreet (1958) and The Grass is Greener (1961). Working less often and mostly in Europe as the 1960s went on, Donen expanded his creative horizons beyond his 1950s studio films. Donen blended comedy, romance, and suspense in the Cary Grant/Audrey Hepburn starrer Charade (1963), a successful neo-Alfred Hitchcock mystery. Trying his hand at New Wave techniques, Donen notched a hit with nonlinear marital comedy Two for the Road (1967), assisted by stars Audrey Hepburn and Albert Finney's onscreen chemistry. Donen, Dudley Moore and Peter Cook's blasphemous comedy Bedazzled (1968) became a cult favorite; Staircase (1969) was only notable for centering on a gay relationship between Richard Burton and Rex Harrison. His brand of stylish classicism increasingly out of synch with the New Hollywood, despite Two for the Road's success, Donen made movies sporadically during the 1970s and early '80s. The subpar screen musical of Antoine de St. Exupery's The Little Prince in 1974 was momentarily enlivened by Fosse's cameo as the Snake. The clever 1930s send-up Movie Movie (1978), featuring a boxing drama and Busby Berkeley-esque musical, was a far better use of Donen's talents. He attempted science fiction with the ill-conceived Saturn 3 (1980) and after the leering comedy Blame It on Rio (1984), Donen left movies, resurfacing occasionally in documentaries and to direct the TV version of A.R. Gurney's Love Letters (1999).Donen married several times, including to actress Yvette Mimieux.

Trivia: American movie stunt man John McKee began accepting acting roles somewhere around 1945. Though his name is not listed in The Baseball Encyclopedia, we can safely assume that McKee had some pro baseball experience of some sort. He was seen as a ballplayer in such films as It Happens Every Spring (1949), Three Little Words (1950), Angels in the Outfield (1951), Pride of St. Louis (1952), The Big Leaguer (1953) and The Kid From Left Field (1953). As late as 1978 he was still in uniform, playing Ralph Houk in the made-for-TV One in a Million: The Ron LeFlore Story. John McKee was also on call for military-officer roles, notably in the war films The Gallant Hours (1960) and McArthur (1976).

Trivia: Along with his brothers, Henry and Syd, Jack Slate performed song and dance routines on the vaudeville circuit until the mid-'20s. Beginning in the 1930s, the Slate brothers occasionally appeared in feature films and shorts while also working in nightclubs and on television. Henry left the trio in 1956 and Jack and Syd continued on. After Syd retired, Jack continued to play small roles in films.

Trivia: Chuck Hicks was both a character actor and a stunt man who worked in feature films, television and television commercials. He later became a stunt coordinator and an instructor.